THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


Digitized  by  the  Internet  Archive 
in  2013 


http://archive.org/details/catalogueofcolle03john 


THREE  HUNDRED  COPIES 

PRINTED  FOR  PRIVATE 

DISTRIBUTION 


CATALOGUE  OF 

A  COLLECTION  OF  PAINTINGS 

AND  SOME  ART  OBJECTS 


GERMAN,  FRENCH,  SPANISH 

AND  ENGLISH  PAINTINGS 

AND  ART  OBJECTS 

BY 
W.   R.  VALENTINER 

MODERN  PAINTINGS 

VOLUME   III 


CATALOGUE  OF 
A  COLLECTION  OF  PAINTINGS 

AND  SOME 

ART  OBJECTS 


GERMAN,  FRENCH,  SPANISH 

AND  ENGLISH  PAINTINGS 

AND  ART  OBJECTS 

BY 

W.   R.  VALENTINER 


MODERN  PAINTINGS 


VOLUME  III 
A/ 

C/2- 


JOHN    G.    JOHNSON 

PHILADELPHIA 

1914 


CONTENTS 


XV   and    XVI    Century   German    Painters 

A.  Upper    Rhenish    School 

B.  Suabian    and    Bavarian    Schools     . 

C.  School    of    Saxony 

D.  School    of    Cologne    and    Westphalia 

XV   to    XIX    Century    French    Painters 

A.  XV    Century  .... 

B.  XVI    Century  .... 

C.  XVII    Century        .... 

D.  XVIII    and    early    XIX    Century 

XV   to    XIX    Century   Spanish    Painters 


XVIII    and    XIX    Century    English    Painters 

A.  First    half    XVIII    Century    . 

B.  1750-1790        

C.  1 790-1 830        

D.  1830-1870       

Modern    Paintings 

Sculptures    and   Art   Objects 

Addenda        


1 
3 

5 
12 

>3 


23 
28 
29 
3i 

39 

?i 
53 

55 
59 

73 

75 
.65 

'93 


vi  1 


GERMAN    PAINTERS 
XV   AND    XVI    CENTURIES 


GERMAN   PAINTERS 
XV  AND   XVI    CENTURIES 


A.     UPPER    RHENISH    SCHOOL 
UPPER  RHENISH  ARTIST 

ABOUT  I44O-5O 

n  THE  BIRTH  OF  CHRIST.     The  Virgin  is  lying  in  a  fourpost  bed 

/  *  ^j-  with  red  hangings  and  cover.  A  woman  dressed  in  blue  standing 
behind  the  bed  is  addressing  her.  A  second  woman  dressed  in  yellowish  green 
kneels  in  front  of  the  bed,  raising  her  hands  in  a  gesture  of  astonishment. 
Both  women  wear  white  turbans.  Farther  in  the  foreground  a  third  woman 
in  a  violet-brown  dress  and  yellow  cap  is  crouching  on  the  floor  holding  the 
naked  Child  in  her  arms.  A  fireplace  on  the  left.  The  figures  are  very  large 
in  proportion  to  the  room. 

Panel.     H.  36I  in.     W.  38!  in. 

,_  c  THE  PRESENTATION  IN  THE  TEMPLE.  The  High  Priest 
y  '  )  stands  before  the  altar  on  the  right,  receiving  the  Child,  whom  the 
Virgin  gives  to  him  with  a  reverent  gesture.  She  wears  a  large  turban,  and 
like  the  Priest  is  robed  in  red  and  green.  A  woman  wrapped  in  a  blue  mantle 
stands  between  them.  The  heads  of  a  number  of  spectators  in  brightly 
coloured  headgear  are  visible.  On  the  left  a  woman,  on  the  right  a  servitor 
who  holds  the  High  Priest's  robes,  both  robed  in  blue  and  yellow.  Gold 
background.  Tiled  floor.  On  the  altar  a  sculptured  group  of  the  Sacrifice 
of  Isaac,  of  which  only  Abraham,  with  uplifted  sword,  is  visible. 

Panel.     H.  36  in.     W.  40!  in. 

This  important  artist  is  related  to  Conrad  Witz  of  Basle,  and  seems  to  be  also 
in  connection  with  Hans  Multscher  of  Ulm.     Like  these  two  artists,  he  is 

3 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

one  of  the  earliest  who,  under  the  influence  of  Flemish  painters,  especially 
of  the  Master  of  Flemalle,  introduced  the  realistic  style  of  the  early  15th  cen- 
tury into  South  Germany. 


FOLLOWER  OF   HANS   MULTSCHER 

ABOUT   I460 

Multscher  born  about  1400,  worked  at  Ulm  and  Sterzing  between  1427  and 
1467. 

n  r  CHRIST  CROWNED  WITH  THORNS.  Christ  in  a  purple 
J  1  \J  Coat  and  red  mantle  sits  on  a  square  seat,  the  head  bent  to  the  right, 
holding  in  the  right  hand  a  reed.  A  man  in  yellow  and  green  costume  to  the 
right  and  another  in  cherry  red  and  dark  blue  dress  to  the  left  press  the  crown 
of  thorns  upon  His  head  with  sticks  which  they  hold  under  their  arms.  Two 
bearded  men  behind  in  the  right  corner,  the  front  one  giving  orders.  Tiled 
floor  and  golden  ornamental  background. 

Panel.     H.  23  in.     W.  i6f  in. 


MARTIN  SCHONGAUER 

Born  at  Colmar  about  1445.  Pupil  of  his  father,  a  goldsmith  from  Augs- 
burg. Influenced  by  Rogier  van  der  Weyden.  The  only  documental  paint- 
ing, the  Virgin  of  the  Rose  Garden  in  Colmar,  was  painted  in  1473.  He 
died  in  Colmar  in  1488.  Most  important  German  engraver  of  the  15th 
century. 

_  n  CHRIST  TAKEN  TO  PRISON.  The  same  composition  as  the 
J  A  j  print  by  Martin  Schongauer  with  a  number  of  changes.  The 
weapon  of  the  soldier  to  the  left  of  Christ  is  shorter  and  has  a  different  top, 
the  costumes  and  caps  are  changed  in  several  details  and  the  landscape  has 
been  added.  Christ  wears  a  dark  purple  cloak.  St.  Peter  has  a  light  blue 
coat  and  white  mantle.  Judas  has  a  brownish  yellow,  the  man  to  the  right 
a  pink  costume.  The  man  lying  in  front  wears  a  circular  red  coat  with  yellow 
border  and  blue  trimming.  Among  the  colours  of  the  other  figures  prevail 
cherry-red  and  green.  The  landscape  is  green-brown  with  a  dark  blue  sky. 
Signed  on  the  sword  of  St.  Peter  M.  S.  (with  a  mark  between  the  letters). 

4 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

Panel.     H.  13!  in.     W.  10  in. 

The  masterly  painting  is  undoubtedly  by  Schongauer  himself,  executed  a  little 
later  from  his  own  print.  The  execution  is  of  the  same  high  quality  as  the 
small  paintings  in  the  Berlin  and  Vienna  Museum  and  in  the  Gutmann  col- 
lection in  Vienna. 


After  HANS  HOLBEIN,  The  Younger 

Born  at  Augsburg  in  1497.     Died  at  London  in  1543.     Pupil  of  his  father, 
Hans  Holbein,  the  Elder.    Worked  at  Basle  and  England.    Travelled  in  Italy. 

y-  ,  O  ERASMUS  OF  ROTTERDAM.     Bust.     The   hands  not  visible. 
J    1  O  Turned  half-way  towards  the  left.     In  a  black  fur-trimmed  mantle 
and  black  cap.     Dark  green  background  in  a  reddish  frame. 

Panel.     7!  in.  circular. 

Old  copy  of  the  Parma  picture  or  of  the  Basle  watercolour. 


B.     SUABIAN    AND    BAVARIAN    SCHOOLS 


BARTHOLOMAUS    ZEITBLOM 

Mentioned  in  documents  from  1483-1520.     Influenced  by  Multscher.     Pupil 
of  Hans  Schiichlin.     Leading  artist  of  the  School  at  Ulm. 

—  j  THE  BURIAL  OF  CHRIST.  Two  men  are  laying  the  body  in  the 
I  y  obliquely  placed  sarcophagus,  before  which,  on  the  right,  the  Mag- 
dalene kneels  weeping  while  she  anoints  the  left  arm.  The  Virgin,  supported 
by  St.  John,  stands  on  the  left,  and  two  men  and  two  women  on  either  side. 
Castle  crowned  rocks  to  the  right  and  left.  A  light  carmine  and  bright  yel- 
lowish-green predominate  in  the  costumes.  The  Virgin  is  robed  in  dark  blue. 
Gold  background  with  stamped  design. 

Panel.     H.  29!  in.     W.  i8|  in. 

The  painting,  a  Suabian  work  of  about  1490,  is  very  closely  related  to  Bar- 
tholomaus  Zeitblom. 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

SUABIAN   ARTIST 

ABOUT  I5OO 

n  _  „  THE  HOLY  FELLOWSHIP.  The  Virgin,  holding  the  Child,  is 
J  ^^J  seated  in  the  centre  of  a  semicircular  bench  with  St.  Anna,  who 
holds  a  fruit  towards  the  Child's  outstretched  hands.  On  either  side  two 
women  with  children  on  their  knees  or  beside  them.  Joseph  and  Joachim 
are  conversing  behind  the  bench,  with  the  Dove  hovering  above  them.  Two 
men  with  a  sainted  woman  between  them  on  the  left,  and  three  men  on  the 
right.  A  majolica  vase  containing  flowers  in  the  foreground.  A  light  scarlet 
and  green  predominate  in  the  costumes,  the  women  wearing  white  caps  and 
kerchiefs.     Grey  blue  sky. 

Panel.     H.  62!  in.     W.  58I  in. 

The  artist  seems  to  be  influenced  by  Friedrich   Herlin  from   Rothenburg, 
who  was  born  about  1435,  died  in  1499,  and  worked  mostly  at  Nordlingen. 


THE   MASTER  OF  MESSKIRCH 

So-called  from  one  of  his  works  in  the  church  at  Messkirch.     Worked  about 
1 525-1 550.     Very  likely  a  pupil  of  Schaufelein. 


7 


_  .  ST.  STEPHEN.  Standing  turned  to  the  right  vested  as  a  deacon, 
■^  '  a  yellow  greenish  mantle  over  a  long  white  shirt.  In  the  right  he 
holds  a  palm.  In  the  left  he  carries  his  symbol,  three  stones.  A  stone  has 
cut  his  forehead.  Large  golden  halo.  A  stone  wall  behind  him;  above 
it,  light  blue  sky.     On  a  white  label  above:  Sanctus  Steffanus  Martir. 

Panel.     H.  g\  in;  W.  24!  in. 

y—  _  _  ST.  EULALIA.  Standing  facing  the  spectator,  the  head  turned 
J  <£  <£  towards  the  right  shoulder.  Long  flowing  hair.  She  wears  a  reddish 
brown  mantle  over  a  white  shirt.  In  the  left  she  holds  a  book,  in  the  right  a 
palm.  Behind  her  to  the  left  the  tower  of  an  abbey.  Large  golden  halo. 
To  the  right  green  trees.     On  a  label  beneath:  Sancta  Eulalia,  V.  (Virgo.) 

Panel.     H.  95  in;  W.  241  in. 

^  ST.    WALPURGIS.     Standing   turned    to   the    right.     Reading  a 

J  ^  J7  book  with  red  cover.     She  wears  a  long  black  mantle  over  a  white 

shirt.     A  white  shawl  covers  her  head;  green  trees  behind  her  to  the  left,  blue 

6 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

hills  in  the  right  background.      On  a  label  beneath:  Sancta  Walpurgis,  V. 
(Virgo.) 

Panel.     H.  9?  in:  W.  24!  in. 

,_  _  .  ST.  AGATHA.  Standing  looking  at  the  spectator.  Green-yellow 
/  ■**  ^\  dress  and  pink  mantle  which  covers  her  left  shoulder.  In  the  right 
hand  she  holds  a  torch,  in  the  left  a  palm.  She  stands  beneath  a  stone  arch. 
Large  golden  halo.  A  wall  behind  her.  Beneath  on  a  label :  Sancta  Agatha 
Virgo  et  M.  (Martir.) 

Panel.     H.  o>\  in;  W.  245  in. 

,_  _  _  ST.  CIRIACUS.  Standing  turned  to  the  left.  In  the  costume  of 
J  ■£  J  a  deacon.  Bluish-white  mantle  over  yellowish-white  shirt;  with 
pink  border.  He  holds  the  mantle  up  with  his  left  hand  in  which  he  grasps 
a  palm  and  rests  the  right  upon  a  sword.  Large  golden  halo.  Gray  wall  be- 
hind him.     On  a  label  above:  Sanctus  Ciriacus  Martir. 

All  panel.     H.  9I  in.     W.  245  in. 

From  the  Fetis  Collection  in  Brussels.     Five  panels  belonging  to  the  same 
series  are  in  the  Kaiser  Friedrich  Museum  at  Berlin. 


HANS  LEONHARD  SCHAUFELEIN 

Born  at  Nuremberg  before  1490,  died  at  Nordlingen  in  1539  or  40.  Pupil 
and  assistant  of  Diirer  until  1505;  worked  at  Nuremberg,  Augsburg,  and, 
after  15 15,  at  Nordlingen.     Painter,  and  designer  for  woodcuts. 

y-  ^  r  PILGRIMS  RESTING  ON  THE  ROAD.  In  a  hilly  landscape 
J  -£^J  three  pilgrims  are  resting  in  the  foreground  near  a  fountain. 
One  of  them  is  filling  his  bottle  with  water,  another  is  taking  a  drink  out  of 
his  pilgrim's  bottle,  the  third  is  fixing  his  sandals.  In  the  middle  distance 
to  the  right  another  pilgrim  is  seen  walking  away  on  a  road.  To  the  left  a 
fifth  one  is  going  around  a  hill.  In  the  background  to  the  left  are  two  large 
castles  and  a  river. 

Panel,  H.  20  in.     \V.  23  in. 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

SUABIAN   (ULM?)  ARTIST 

ABOUT   I52O 

r-  ^  y-  THE  ADORATION  OF  THE  KINGS.  The  Virgin,  robed  in  dark 
I  -^  [  blue,  is  seated  on  red  cushions  in  front  of  a  stone  wall,  receiving  the 
three  kings.  The  eldest  king,  in  a  gold  brocaded  mantle,  kneels  in  the  fore- 
ground offering  a  vase  to  the  Child  who  removes  its  cover.  The  second  king, 
in  a  purple  mantle  trimmed  with  ermine,  stands  behind  him.  The  Moor, 
in  a  brown  brocaded  mantle  and  red  trousers,  advances  from  the  right.  Joseph, 
wearing  a  scarlet  cloak,  enters  through  a  doorway  behind  the  Virgin.  On  the 
right  a  wooded  slope  crowned  by  a  castle.     Deep  blue  sky. 

Panel.     H.  13  in.     W.  13  m. 

Originally  attributed  to  Hans  Leonhard  Schaufelein. 

SUABIAN    (AUGSBURG?)   ARTIST 

ABOUT   I52O 


28 


LADY  AND  CHILD.  From  the  family  Urmiller.  Half  length. 
J  J*\J  The  little  girl  stands  in  front  of  the  lady  who  rests  a  hand  on  each 
of  her  shoulders.  Only  the  child's  head  and  part  of  the  bust  are  visible. 
She  wears  a  red-brown  dress.  She  has  fair,  yellow  hair  and  a  black  band 
across  her  forehead.  The  mother  wears  a  dark  dress  with  a  white  coif  and 
undersleeves.     Green  background. 

Panel.     H.  25J  in.     W.  i8§  in. 

Companion  piece  to  the  Portrait  of  a  Gentleman  and  a  Boy  in  the  Stadel'- 
sche  Institut  at  Frankfort.  The  family  Urmiller  whose  coat  of  arms  appear 
in  the  Frankfort  picture  lived  in  the  XVI  century  in  Leutstetten  and  Frass- 
hausen  (Bavaria).  Other  pictures  by  the  same  artist  in  Dresden  and  Innsbruck. 
This  important  painter  worked  very  likely  at  Augsburg  under  the  influence 
of  Holbein. 


SUABIAN  ARTIST 

OF    I524 

HOn   TW°    W1NGS-      LEFT    WING-    SAINT    CATHERINE.     She 

/  ^  y  stands  turned  to  the  right,  wearing  a  green  costume  and  a  claret 

mantle  lined  with  orange  and  green  changeable  silk.     She  holds  the  wheel  in 

8 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

her  right  hand  and  the  long  sword  in  her  left.  On  the  sword  the  mark  Z  I. 
In  the  left  background  the  saint  kneeling  before  her  who  draws  his  sword  to 
kill  her.  The  king  watches  the  scene.  The  wheel  in  the  background  upon 
which  the  saint  had  been  tortured  is  destroyed  by  a  fire  falling  from  the  hea- 
vens.    The  Alps  in  the  distance. 

2  Right  Wing.  SAINT  BARBARA.  She  is  standing  turned  to  the  left, 
wearing  a  scarlet  costume  and  green  mantle.  In  the  left  hand  she  holds  a 
golden  chalice  containing  the  host,  on  which  the  crucifix  with  the  monogram  of 
Christ  is  visible.  To  the  left,  behind  her,  the  tower  in  which  she  had  been 
imprisoned.  Before  it  the  executioner  holding  her  by  the  hair  and  swing- 
ing a  sword  over  her.  On  the  tower  the  signature  of  the  artist :  H  G  (con- 
bined)  1524.     Underneath  a  mark:  I  Z. 

On  the  top  of  the  two  panels  branches  of  Gothic  leaves.  These,  the  nimbus, 
and  part  of  the  ornament  are  executed  in  gold. 

Panel.     H.  21J  in.     W.  58  in. 

From  a  private  collection  at  Budapest.  The  picture  has  been  attributed  to 
Hans  Baldung  Grien  but  the  signature  differs  from  the  one  which  he  used  and 
the  style  suggests  some  other  artist  of  his  school. 


ALBRECHT  ALTDORFER (?) 

Born  shortly  before  1480,  died  at  Regensburg  in  1538.     Influenced  by  Diirer 
and  Griinewald.     Worked  at  Regensburg.     Painter,  architect,  and  engraver. 

„  ^  THE  MARTYRDOM  OF  THE  TEN  THOUSAND.  Left  Wing: 
J  J?  ^  In  the  foreground  the  king,  dressed  in  a  red,  yellow,  blue,  and  green 
costume,  is  in  consultation  with  his  advisers  and  a  soldier.  Somewhat  far- 
ther back  are  soldiers,  who  are  leading  some  of  the  martyrs  up  the  hill.  On 
the  top  the  executioners,  who  are  pushing  the  nude  martyrs  from  the  rock. 
Right  Wing:  In  the  foreground  two  martyrs  bound  to  a  pine  tree  and 
lashed  by  a  soldier,  dressed  in  a  yellow  and  green  costume.  Farther  back  the 
martyrs  are  falling  down  the  rock  and  are  being  cut  to  pieces  by  soldiers  at 
the  base  of  the  rock.  On  the  ground  the  heads  and  bodies  of  the  dead.  Hilly 
landscape  with  blue  sky. 

Panel,  curved  at  the  top,  a  half  circle  cut  out  at  the  bottom.     H.  50  in. 
W.  17  in. 

9 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

SOUTH  GERMAN  ARTIST 

ABOUT  I55O 

—  _  y  THE  EXPULSION  FROM  PARADISE.  In  a  hilly  landscape 
/  J)  *■  with  blue  mountains  in  the  distance  and  large  trees  in  the  fore- 
ground, are  Adam  and  Eve  advancing  to  the  right.  Adam  looks  back  at  the 
angel  who  stands  behind  him  swinging  his  sword.  The  angel  wears  a  dark 
wine-red  mantle  and  points  at  Adam  and  Eve  with  outstretched  left  hand. 
In  the  blue  clouds  God  the  Father  is  seen  advancing  from  the  right. 

Panel.     H.  33^  in.     W.  18  in. 

Formerly  attributed  to  Albrecht  Altdorfer. 


CONRAD  FABER 
(the  master  of  the  holzhausen  portraits) 

The  artist  is  called  after  some  portraits  belonging  to  the  Holzhausen  family 
at  Frankfort.  He  was  a  South  German  and  worked  in  Frankfort  during  the 
second  quarter  of  the  16th  century.  He  has  been  recently  identified  with 
Conrad  Faber  von  Creuznach. 


13 


PORTRAIT  OF  AN  OLD  MAN.  Half  length.  Turned  slightly 
■£  towards  the  right.  Wearing  a  brown  cloak  trimmed  with  black  fur 
with  a  red  vest  in  front.  He  has  a  white  beard  and  holds  a  coral  chain  in  his 
hands  which  rest  on  a  parapet  in  front  of  him.     Brown  fur  cap.     Blue  sky. 

Panel.  H.  2i|in.     W.  14!  in. 

Described  by  Max  J.  Friedlander  in  "Art  in  America"  Vol.  I.  3. 


MARTIN  SCHAFFNER 

Suabian  artist.  Worked  at  Ulm  from  1496  on.  Died  there  about  1541.  Pro- 
bably a  pupil  of  Jorg  Stocker;  influenced  by  7eitblom.  Travelled  perhaps  in 
Italy.     Most  important  artist  at  Ulm  during  the  first  part  of  the  16th  century. 

,_  ^  ^    PORTRAIT  OF  A  LADY.     Bust.     Turned  towards  the  left.     The 

I  j  J?   right  hand,  adorned  by  a  ring,  alone  is  visible.     She  wears  a  brown 

dress  trimmed  with  dark  red,  a  gold  chain  around  her  throat  and  a  white  cap 

10 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

with  an  embroidered  band.     View  of  the  Alps  in  the  background,  their  out- 
lines sharply  defined  against  a  deep  blue  sky. 
On  the  upper  left  hand  a  spurious  Cranach  signature. 

Panel.     H.  n  in.     W.  8|  in. 

The  right  attribution  due  to  Dr.  Max  J.  Friedlander. 

MELCHIOR  FESELEN(?) 

Born,  very  likely,  at  Passau;  died  at  Ingolstadtin  1538.  Follower  of  Altdorfer. 
Some  of  his  best  pictures  are  in  the  Munich  Gallery. 

n  .  THE  QUEEN  OF  SHEBA  BEFORE  SOLOMON.  The  King 
J  J)  t\  emerges  from  his  palace  at  the  left  on  to  a  terrace  where  the  Queen 
is  kneeling,  in  a  court  surrounded  by  fantastic  buildings.  Five  ladies  of  her 
train  behind  the  Queen.  The  King  accompanied  by  warriors.  Numerous 
figures,  in  part  oriental,  on  the  steps  and  in  the  courtyard.  In  a  building  on 
the  right  one  sees  the  King  and  Queen  seated  at  table.  The  figures  all  wear 
German  Renaissance  costumes.  The  architecture  is  a  mixture  of  Venetian 
and  South  German  style. 

Panel.     H.  19  in.     W.  26!  in. 

The  picture,  undoubtedly  by  a  Bavarian  artist,  seems  to  belong  to  a  some- 
what later  date  (about  1540-1550)  than  the  period  of  Feselen. 

HANS  MUELICH   (MIELICH) 

Bavarian  School.  Born  at  Munich  in  15 16.  Died  there  in  1573.  Perhaps 
pupil  of  M.  Ostendorfer.  Court  painter  of  Duke  Albert  V.  of  Bavaria. 
Painter  of  portraits  and  of  historical  scenes.  He  painted  also  a  considerable 
number  of  miniatures. 

n  _  ^  PORTRAIT  OF  A  NOBLEMAN.  Half  length  figure.  Slightly 
/  J)  J  turned  to  the  right.  Broadly  built  figure  with  long  white  beard.  He 
wears  a  black  cap  and  a  cherry  red  mantle  trimmed  with  ermine  and  has  a 
gold  chain  around  his  neck.  His  right  hand  is  held  in  front  of  him,  the  left, 
which  is  covered  with  a  glove,  grasps  the  hilt  of  his  sword.  Behind  him  to  the 
left  a  red  curtain.     A  gray  wall  to  the  right. 

Canvas.  •  H.  37!  in.     W.  34  in. 

1 1 


GERMAN    PAINTERS   XV    AND   XVI    CENTURIES 

This  portrait  of  monumental  style  which  shows  the  artist  under  Venetian 
influence,  may  represent  one  of  the  Bavarian  dukes  as  has  been  suggested. 
The  right  attribution  first  made  by  Dr.  Hermann  Voss. 

n  _  r  PORTRAIT  OF  A  NOBLEMAN.  Half  length  figure.  Turned 
j  J)  ^  to  the  left.  He  has  a  prominent  nose,  sharp  eyes,  and  a  moustache. 
He  wears  a  black  cap  and  a  black  costume  trimmed  with  brown  fur.  The 
white  shirt,  decorated  with  gold  ornaments,  is  seen  in  the  front.  A  golden 
chain  hangs  around  his  neck.  The  hands  are  held  in  front  of  him.  Light 
green  background.     Inscribed  on  the  background:  Alters  im  Iare  1549. 

Panel.     H.  i8|  in.     W.  14!  in. 


ALBRECHT  DURER 

Born  at  Nuremberg  in  1471.  Died  there  in  1528.  Pupil  of  Michel  Wol- 
gemut.  He  travelled  to  Colmar,  Basle,  and  Venice.  In  1 506  he  was  in  Venice 
for  the  second  time.  In  1520-21  in  the  Netherlands.  Painter  and  engraver. 
Greatest  master  of  the  Nuremberg  School. 

n  -  —   PORTRAIT  OF  HANS  FREI  (?).     Bust.     Facing  the  spectator. 

j  J  j  Long  neck  and  a  bald  head  with  sparse  hair  falling  in  ringlets  over 
the  ears.  A  slight  beard  on  the  sunken  upper  lip  and  chin.  Brown  smock. 
Charcoal  drawing  on  paper,  with  white  high  lights  and  a  touch  of  red  in  the 
face.  Background  washed  with  India  ink.  Subsequently  stretched  on 
wood  and  varnished. 

Paper  H.  15!  in.     W.  iof  in. 


C.     SCHOOL  OF  SAXONY 


LUCAS  CRANACH,  The  Elder 


Born  in  Kronach  in  1472.  Died  at  Weimar  in  1553.  Pupil  of  his  father. 
Studied  in  South  Germany  and  at  Vienna.  After  1544  court  painter  of  the 
Duke  of  Saxony  at  Wittenberg.     Painter,  engraver,  and  designer  for  wood  cuts. 

12 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

y—  _  Q   CUPID.     He  is  nude,  with  blue  wings,  and  dances  on  two  volumes 
J  J)  O   holding  in  his  left  hand  an  arrow,  and  with  the  right  he  lifts  from 
his  eyes  a  veil  which  is  bound  around  his  head.     One  of  the  books  is  signed: 
Platon  Opa  (opera).     Black  background. 

Panel.     H.  30!  in.     W.  14I  in. 

r-  -  DUKE  JOHN  OF  SAXONY.  Half  length.  Turned  slightly 
/  J/  y  towards  the  right.  He  wears  a  red  and  white  striped  costume  with 
fur  collar  and  a  pearl  embroidered,  yellowish-red  vest.  His  hands  are  laid  on  his 
breast.  Two  rings,  one  bearing  a  coat  of  arms,  on  his  left  hand.  Black  back- 
ground. 
Monogram  and  date  (1529)  on  the  left. 

Panel.     H.  23  in.     W.  \6\  in. 


MARTIN  LUTHER.     Half  length.     Turned  slightly  towards  the 
4^  right.     Dressed  in  black  with  red  facings  at  the  throat.     Holding 


7 

a  Bible.     Green  background. 

Signed  on  the  left  with  the  serpent,  and  dated  1545. 

Panel.     H.  13!  in. 


74 


PORTRAIT  OF  A  GIRL.  Half  length.  She  wears  a  low  necked 
A  costume  with  dark  green  sleeves  and  a  broad  band  of  gold  embroidery 
in  front.  A  gold  necklace,  with  pearls,  is  around  her  neck  and  a  braided  ribbon 
around  her  shoulders.  Her  hair  is  covered  by  a  gold  embroidered  net  with  a 
red  bonnet  over  it.     Dark  brown  ground. 

Canvas,  transferred  from  panel.     H.  20  in.     W.  1 3 J  in. 

Possibly  by  Lucas  Cranach,  the  younger. 


D.     SCHOOL  OF  COLOGNE  AND  WESTPHALIA 


MASTER  WILHELM  OF  COLOGNE 

To  this  artist  are  ascribed  a  group  of  paintings  which  are  the  finest  of  the 
early  Cologne  School  during  the  period  of  1 370-1410.  Among  them  the 
"Madonna  Holding  the  Bean  Blossom"  in  the  Cologne  Museum,  the  "Ma- 
donna Holding  the  Pea  Blossom"  at  Nuremberg,  and  three  or  four  other  pict- 

13 


GERMAN    PAINTERS   XV    AND   XVI    CENTURIES 

ures.  This  artist  has  been  traditionally  called  Master  Wilhelm,  as  it  is  said, 
in  a  chronicle  of  1 380,  that  Master  Wilhelm  of  Cologne  was  the  greatest  artist 
of  Germany.  The  painter  is  the  founder  of  the  Cologne  School  previous 
to  the  Van  Eycks. 

y-,  Ar\  VIRGIN  ENTHRONED  SURROUNDED  BY  SAINTS.  The 
J  Zj.  —  Virgin,  robed  in  pink  with  a  blue  mantle,  is  seated  on  a  Gothic 
throne  holding  on'her  knee  the  Child,  who  seeks  to  grasp  the  coral  chain  around 
the  neck  of  Mary  Magdalene  who  kneels  on  the  left.  St.  Clara,  in  nun's  garb 
and  holding  the  host,  stands  beside  Mary  Magdalene.  St.  Barbara  with  the 
tower  and  St.  Catherine  with  the  wheel  are  conversing  in  front  of  them.  In 
corresponding  positions  on  the  right  St.  Cecilia  with  a  Lamb  and  St.  Agnes 
with  the  palm  branch  are  in  conversation.  In  front  of  them  St.  Margaret 
and  St.  George.  Farther  back  St.  Paul  and  St.  Peter  on  the  left  side  of  the 
throne  and  St.  John  the  Baptist  and  St.  John  the  Evangelist  on  the  right. 
Gold  background.     Red  and  blue  tiles. 

Panel.     H.  14J  in.     W.  \o\  in. 

Scheibler  and  Aldenhoven  claim  the  painting  is  by  a  Westphalian  follower  of 

Master  Wilhelm. 

Reproduced  in  the  catalogue  of  the  Felix  Collection,  plate  32.     Described  by 

C.  Aldenhoven:  Kolnische  Malerschule,  1902,  p.  70. 

Exhibited  in  Diisseldorf,  1905,     No.  7. 

Sold  at  the  Ch.  Ruhl  auction  in  Cologne,  1876,  No.  37. 

Hans  Felix  Collection,  Leipzig. 

MASTER  OF  THE   LIFE  OF  THE  VIRGIN 

Cologne  artist  under  influence  of  Stephan  Lochner  and  Dirk  Bouts.  Dates  on 
his  paintings  from  1463-1480.  His  masterpieces  are  the  seven  panels  with  scenes 
from  the  life  of  the  Virgin  in  the  Munich  Pinakothek,  after  which  he  is  called. 

^  THE  ASCENSION  OF  CHRIST.     Christ,  covered  with  a  cherry- 

I  ^\  J)  red  mantle,  is  rising  from  a  small  rock  in  the  centre,  holding  in  the 
left  hand  the  cross,  and  blessing  with  the  right.  Beneath  him  are  kneeling 
seven  apostles  to  the  right,  in  front,  St.  Peter  in  a  red  coat  and  blue  mantle 
with  yellow  trimming.  To  the  left  the  other  five  apostles  and  the  Virgin, 
who  is  dressed  in  a  dark  blue  mantle.  The  names  of  the  apostles  are  inscribed 
in  their  gold  halos.     Gold  background. 

Panel,  rounded  top.     H.  35  in.     W.  31 J  in. 

14 


GERMAN    PAINTERS    XV    AND   XVI   CENTURIES 

Described  by  C.  Aldenhoven,  Kolnische  Malerschule,  1902,  p.  223;    by  E. 

Firmenich-Richartz,    Merlo's  Kolnische    Kiinstler,     1895,    p.     1159;  by    C. 

Scheibler,  Repertorium,  1904,  p.  558. 

Exhibited  in  Diisseldorf,  1904,  Cat.  No.  32. 

Formerly    Boisseree   Collection,    Cologne. 

Collection  of  Mr.  Adolf  Heer,  Stuttgart  (until  1880). 

Sale  in  Bonn,  1886,  No.  68a. 

Collection   of   Consul    Weber,    Hamburg,   Cat.  Wormann   No.   7.     Sold  in 

Berlin,  1912,  Cat.  No.   13. 


MASTER  OF  ST.   BARTHOLOMEW 

The  artist  has  been  called  after  the  painting  representing  St.  Bartholomew  at 
Munich.  Worked  at  Cologne  about  1470-15 10.  Influenced  by  Rogier  van 
der  Weyden  and  Martin  Schongauer.  One  of  the  best  artists  of  the  Cologne 
School. 

^  THE  DESCENT  FROM  THE  CROSS.      The  body  of  Christ  is 

/  l"  1  supported  by  Joseph  of  Arimathea  and  two  men  standing  on  the 
ladder.  One  of  the  surrounding  women  holds  the  limp  right  arm.  On  the 
left  the  Virgin,  who  has  lost  consciousness  and  is  supported  by  Saint  John.  On 
the  right  the,  kneeling  Magdalene  and  a  second  woman  who  receives  the 
Crown  of  Thorns  from  the  hand  of  Joseph  of  Arimathea.     Gold  background. 

Panel.     H.  20  in.     W.  15^  in. 

Smaller  school  replica  after  the  painting  in  Temple  Newsam. 


MASTER  OF  THE  HOLY  FELLOWSHIP 

The  artist  worked  at  Cologne  about  1480-15 10.  Called  after  a  painting  rep- 
resenting the  Holy  Fellowship  in  the  Cologne  Museum.  One  of  the  best 
colourists  of  the  Cologne  School. 

_  SAINT  PETER  AND  SAINT  ANDREW.     St.  Peter,  robed  in 

I  *\  )   grey  with  a  green  mantle,  stands  on  the  left  in  front  of  a  curtain 

brocaded  with  dark  green  pomegranates,  holding  an  open  book  in  his  right 

hand  and  the  key  in  his  left.     He  turns  backward  towards  Andrew  who, 

'5 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

robed  in  blue  with  a  red  mantle,  stands  on  the  right  leaning  his  right  arm  on 
the  Cross  and  holding  a  Bible  under  his  left.  A  church  window  behind  the 
curtain. 

Panel.     H.  i8£  in.     W.  I2§  in. 

Belonging  to  a  series  of  the  twelve  apostles,  the  other  panels  owned  by  the 
Bonn  Museum  and  by  private  collectors  in  Germany. 

PIERRE  DES  MARES 

Worked  in  the  first  half  of  the  sixteenth  century  in  Antwerp,  Bruges,  and 
Cologne.  Related  to  the  master  of  the  Holy  Fellowship.  His  most  important 
work  a  large  triptych  in  the  Munich  Pinakothek. 

n  r  CRUCIFIXION.  To  the  left  of  the  crucified  Christ,  St.  John 
I  ^\  ^  supports  the  Virgin  who  has  fainted.  He  wears  a  pink  costume; 
the  Virgin  is  clothed  in  a  dark  blue  mantle.  More  to  the  left  St.  Jerome  in 
the  dark  red  mantle  of  a  Cardinal.  In  the  foreground  kneels  St.  Magdalene  in 
light  blue  costume  with  yellow  and  orange  sleeves.  St.  Peter  is  behind  her 
and  protects  a  kneeling  donor  in  the  white  costume  of  a  monk.  St.  Barbara, 
in  yellow-green  costume,  with  a  peacock  feather,  stands  between  the  Cross  and 
St.  Peter,  who  wears  a  red  mantle  over  a  dark  blue  costume.  Mountainous 
landscape  with  a  city  to  the  left  and  a  river  on  the  right  in  the  background. 

Panel.     H.  24!  in.     W.  i8|  in. 

The  correct  attribution  due  to  Dr.  Max.  J.  Friedlander. 

BARTHOLOM/EUS  BRUYN,  The  Elder 

Born  very  likely  in  Holland  (Haarlem?)  in  1493.  Died  in  Cologne  between 
1553  and  1557.  Influenced  by  the  Master  of  the  Death  of  the  Virgin.  Worked 
in  Cologne  from  1 5 1 5  on. 

n  .  —  -  ,0  TWO  WINGS  REPRESENTING  DONORS  AND 
/  4  /    "7  4        THEIR    PATRONS.      Left   Wing.     The   donor   and 

his  son  are  kneeling  with  folded  hands,  slightly  turned  to  the  right,  protected 
by  their  patron  St.  Peter.  The  Saint  wears  a  green  costume  and  a  warm 
red  mantle,  holding  in  the  left  hand  a  large  key.  A  landscape  view  above 
a  stone  wall  in  the  background.  The  son  of  the  donor  kneels  to  the  left 
behind  his  father. 

16 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

Right  Wing.  The  donor,  wearing  a  white  cap  and  a  black  mantle  with  a 
chain  about  the  neck,  kneels  to  the  left  before  a  desk  on  which  lies  an  open 
prayerbook.  St.  Anne,  in  green  costume  and  red  mantle,  behind  her  and 
holding  the  young  Virgin  and  the  Christ  Child  in  her  arms.  A  landscape 
view  above  a  stone  wall  in  the  background. 

Panel.     (Each)  H.  30!  in.     W.  2o|  in. 

H  AC\  P0RTRAIT  0F  A  MAN.     Half  length  a  light  green  background. 

/17  He  wears  a  black  coat  with  heavy  fur  around  the  shoulders  and  a 
flat  bonnet.  He  holds  his  coat  with  the  left  hand ;  with  the  right  he  holds  a 
book  with  a  red  cover. 

Panel.     H.  12  in.     W.  8i  in. 


75 


„  THE  CRUCIFIXION.  The  crucifix  is  standing  in  the  foreground 
^  of  a  hilly  country.  Christ  on  the  Cross  is  turned  towards  the  left 
where  the  Virgin  stands  with  hands  folded  across  her  breast.  She  wears  a 
black  costume,  blue  mantle,  and  white  cap.  To  the  right  is  St.  John  wearing 
an  orange  coloured  costume  and  a  red  mantle  which  he  holds  with  his  right 
hand.  In  front  of  him  kneels  the  donor,  a  Capucine  monk,  dressed  in  the 
white  costume  of  his  order  and  holding  a  rosary  in  his  folded  hands. 

Panel.     H.  i6|  in.     W.  10  in. 

It  is  interesting  to  compare  this  picture  with  The  Crucifixion  by  the  Master 
of  the  Death  of  the  Virgin  (No.  374)  and  the  one  by  Pierre  de  Mares  (No. 
746)  showing  the  close  connection  of  the  three  artists  who  worked  at  the 
same  time  in  Cologne.  The  Christ  in  the  picture  by  Bartel  Bruyn  shows  much 
similarity  with  the  one  of  De  Mares. 


LOW  RHENISH   ARTIST 

ABOUT  I5OO 

r-^  .  CHRIST  IN  GETHSEMANE.  St.  John  in  a  light  violet  robe 
/  J  *  and  red  mantle  is  asleep  in  the  centre  foreground,  his  hands  resting 
on  a  book.  The  two  other  disciples  are  crouched  on  the  ground  on  either 
side  of  him.  Slightly  farther  back  in  the  centre  of  the  scene,  Christ  praying, 
the  Angel  with  the  Cross  and  the  Cup  hovering  over  Him.     On  the  left  the 

'7 


GERMAN    PAINTERS    XV   AND   XVI    CENTURIES 

scene  of  the  Judas  kiss;  and  on  the  right  Judas  leading  the  soldiers  by  torch- 
light. In  the  foreground  the  donor  in  front  of  St.  Peter,  and  his  wife  in  front 
of  St.  Helena. 

Panel.     H.  32!  in.     W.  28  in. 

Sale,  Earl  of  Dudley,  London,  1892. 


MASTER   OF    L1ESBORN 

Westphalian  artist.  Influenced  by  the  Cologne  school.  He  painted  in 
1465  a  Crucifixion  for  the  high  altar  of  the  Benedictine  abbey  in  Liesborn  near 
Minister.  Several  works  by  him  in  the  National  Gallery  in  London,  in 
Minister,  and  in  Berlin.  Most  important  Westphalian  painter  in  the  latter 
part  of  the  15th  century. 

„  ^  MADONNA  AND  CHILD  AND  TWO  SAINTS.  Busts.  The 
J  J  ^  Madonna  wears  a  pink  costume  and  has  reddish-blond  hair  falling 
upon  her  shoulders.  She  looks  down  to  the  left  upon  the  Child  whose  head 
and  upper  part  of  the  body  are  seen  at  her  right.  A  young  saint  with  fur 
cap  and  pink  collar  to  the  right.  A  bearded  saint  with  long  white  hair  wear- 
ing a  brown  collar  to  the  left.     Black  background. 

Panel.     H.  55  in.     W.  \o\  in. 

The  right  attribution  due  to  Dr.  Max  J.  Friedlander. 


MASTER  OF  CAPPENBERG 

So  called  after  the  altarpiece  in  the  cloister  church  at  Cappenberg.  He 
worked  very  likely  at  Dortmund  and  other  places  of  Westphalia  about  1480- 
1 530.  Influenced  by  the  Diinwegge,  with  whom  he  has  been  wrongly  identified 
by  some.  Together  with  these  artists,  the  most  important  master  at  Westphalia 
in  the  beginning  of  the  16th  century. 

^  CHRIST  BEFORE  ANNAS.     The  High  Priest  is  seated  on  his 

/  j  J7  throne  at  the  right,  holding  a  staff  in  one  hand  and  a  roll  of  parch- 
ment in  the  other.  Christ  is  led  forward  between  two  soldiers  while  two 
captains  stand  on  guard  behind  him.     A  soldier  behind   him   carrying  a 

18 


GERMAN    PAINTERS    XV    AND   XVI    CENTURIES 

lance  threatens  him  with  his  fist.  In  the  left  background  two  more  heads 
are  visible.  Two  older  men  stand  one  on  either  side  of  Annas'  throne,  one  of 
them  being  obviously  a  portrait,  possibly  of  the  artist.  The  throne  is  Gothic. 
Renaissance  ornaments  on  the  pillars  behind  it.  A  white  dog  lies  in  the 
foreground.  The  fur-trimmed  mantle  of  white  Italian  brocade  worn  by 
Annas,  and  the  citron-yellow  garment  of  the  foremost  soldier  stand  out  most 
sharply  in  the  colour  scheme.  Almost  every  other  colour  is  represented  in 
the  costumes,  a  warm  red  and  light  green  predominating.     Gold  background. 

Panel.     H.  48  in.     W.  55  in. 

This  painting  belongs  to  a  series  depicting  the  Passion.  The  other  parts 
are  in  Miinster,  and  in  English  collections. 


LUTGER  TOM   RING,  The  Younger  (?) 

Born  at  Miinster  in  1522.    Died  at  Braunschweig  in  1583  or  1584.   Westphalian 
portrait  painter. 

r-jr    a    PORTRAIT  OF  A  GENTLEMAN.     Half  length.     Only  his  left 
/  J  *\  hand,  holding  a  glove,  is  visible.     He  wears  a  pointed  beard  and 
flowing  moustache.     Flat  cap.      Dressed  in  red-brown  with  a  black  cloak. 
Dark  green  background. 

Panel.     H.  1 9 J  in.     W.  14^  in. 

Possibly  Dutch,  by  an  artist,  related  to  Antonio  Moro. 

^_  PORTRAIT  OF  AN  OLD  LADY.     Half   length   figure.     She   is 

/  ;  j  seen  in  front  with  her  hands  placed  one  above  the  other,  the  head 
slightly  turned  to  the  left.  She  wears  a  black  costume  with  a  chain  around  the 
waist;  the  shirt,  with  embroidered  collar,  is  visible  around  the  neck  and  shoul- 
ders. A  black  head-dress  covers  the  brown  hair.  Green  background,  with  a 
coat  of  arms  in  the  upper  left  corner  —  a  blue  shield  containing  three  golden 
rombards. 

Panel.     H.  17I  in.     W.  12^  in. 

It  is  difficult  to  place  this  picture.     Its  author  may  even  be  a  French  artist. 


19 


FRENCH    PAINTERS 
XV  TO  XIX  CENTURY 


FRENCH   PAINTERS 
XV  TO   XIX   CENTURY 

A.     XV  CENTURY 

NORTH    FRENCH   ARTIST 

ABOUT   I4OO 

rnrf  THE  B1RTH  0F  CHRIST  The  Virgin,  in  a  dark  blue  mantle, 
J  J^J  kneels  beside  a  hut,  turning  towards  the  right  with  folded  hands, 
while  two  angels  hold  the  Child  towards  her.  Joseph,  wearing  a  red  cap, 
crouches  in  the  right  foreground  offering  the  Virgin  a  swaddling  cloth  which 
he  has  warmed  by  the  fire.  The  shepherds  are  advancing  on  the  left.  In 
the  distance,  above  the  hut,  the  angels  are  bearing  the  good  tidings  to  the 
shepherds.     God  the  Father  appears  overhead.     Gold  background. 

Panel.  (Including  frame)  H.  335  in.     W.  1 1  in. 

,_  ^  ,_  THE  DEATH  OF  THE  VIRGIN.  The  Virgin,  in  a  dark  blue 
I  J  l  mantle,  is  extended  from  left  to  right  on  a  bed  hung  with  red  gold 
brocade.  An  angel  stands  at  her  head,  and  one  apostle  with  an  incense 
burner  is  on  the  left,  while  a  second  places  a  candle  in  her  hands.  Six  more 
apostles  stand  behind  her  bed,  and  three  crouch  in  the  foreground.  God 
the  Father  appears  among  the  clouds,  and'  higher  up,  Christ,  receiving  the 
Virgin's  soul.     Gold  background. 

Panel.     (Including  f ramie)  H.  33^  in.     W.  11  in. 

Companion  piece  to  the  preceding. 

Rare  examples  of  the  earliest  French  panel  paintings  under  influence  of  the 

miniatures  of  the  Paris  School. 

23 


FRENCH    PAINTERS    XV   TO   XIX   CENTURY 

SOUTH   FRENCH  ARTIST 

ABOUT    I43O-5O 

„       O   CRUCIFIXION.     In  the  middle  the  crucified  Christ  and  to  the 
I  j  C^  left  the  Virgin.    St.  John  to  the  right.    Christ's  head  is  bent  towards 
His  right  shoulder.      Above  the  cross  the  moon  to  the  right,  the  sun  to  the 
left.     Behind  the  group  the  walls  of  a  city  with  four  red-roofed  towers. 

Panel,  rounded  top.     H.  46  in.     W.  25^  in. 

Formerly  in  a  collection  at  Nimes. 


SOUTH  FRENCH  ARTIST 

ABOUT   I45O 

rn  r  n  MADONNA  ENTHRONED  SURROUNDED  BY  SAINTS.  The 
I  yy  Virgin  is  sitting  on  red  clouds,  holding  the  child  on  her  left  knee,  in  her 
right  hand  a  long  roll  with  inscriptions  of  which  the  Child  holds  the  other  end. 
The  Virgin  wears  a  golden  crown,  a  light  brown  dress  and  dark  blue  mantle, 
the  Child  a  brown  shirt.  She  is  surrounded  by  a  large  oval  nimbus.  Three 
young  female  saints  on  each  side.  On  the  right  the  upper  saint  holds  a  sword 
and  shield,  the  next  one  scales,  the  lower  one  a  scroll ;  on  the  left :  the  upper 
saint  is  pouring  water  from  a  pitcher  into  a  basin,  the  next  one  is  holding  a 
lantern,  the  lower  one  is  holding  a  scroll.  They  wear  cherry-red,  purple,  dark 
blue  and  green  dresses;  the  upper  saints  are  sitting  on  blue  clouds.  The  dove 
is  in  the  middle  of  the  three  sections  above  the  picture. 

Panel.     H.  40  in.     W.  40  in.  without  the  upper  part  of  the  frame. 


FRENCH  (BURGUNDIAN)  ARTIST 

ABOUT    I45O 

^^        PORTRAIT  OF  A  YOUNG  LADY  OF  SIXTEEN.     Half  length 

y  v/ W  figure.     She  is  looking  down  to  the  left  and  holds  a  hunting  falcon 

on  her  right  hand.     She  wears  a  red  Burgundian  head-dress  and  an  ermine 

bodice  with  dark  blue  sleeves.      Gold  background.     A  coat  of  arms  on  the 

24 


FRENCH    PAINTERS    XV   TO   XIX   CENTURY 

top  at  the  left  with  a  column  and  crown  over  it  on  a  red  shield.     On  a  ribbon 
around  it:     Aetatis  Svae  XVI 

Panel.     H.  n  in.     W.  7!  in. 


76 


SCHOOL  OF  NICHOLAS  FROMENT 

ABOUT     I47O 

Froment  worked  in  the  South  of  France  (Avignon)  about  1460-90. 

TRIPTYCH.  In  the  centre  a  half  length  figure  of  the  Virgin 
1  offering  an  apple  to  the  Child.  She  has  a  dark  blue  drapery  thrown 
over  her  red  gold  hair.  On  the  right  panel  a  half  length  figure  of  Mary 
Magdalene  in  a  red  robe  and  yellowish  mantle,  holding  the  box  of  ointment 
in  her  hands.  On  the  left  panel  John  the  Baptist,  pointing  with  his  right  hand 
towards  the  Lamb  who  stands  on  the  Bible  at  his  left.  Over  his  coarse  robe 
he  wears  a  red  mantle  lined  with  green.  Brown  background  framed  in  a  row 
of  precious  stones.     Rounded  at  the  top. 

Panel.     Centre  H.  10  in.     W.  8J  in.       Wings  H.  1 1|  in.     W.  4  in. 


SCHOOL  OF  JEAN  BOURDICHON 

ABOUT     I480 

Bourdichon,  from  Tours,  born  in  1455,  was  court  painter  of  Charles  VIII  and 
Louis  XII. 


TRIPTYCH,  WITH   SCENES  FROM  THE   LIFE  OF  SAINT 
^2 


J  \J  ^  ANN.  In  the  Centre:  St.  Ann  with  the  mother  of  Christ 
and  the  mother  of  St.  John,  both  holding  their  children  on  their  knees.  St. 
Ann,  in  the  centre,  wears  a  red  and  blue  head-dress  and  blue  mantle  and  is 
reading.  The  Virgin,  to  the  left,  is  dressed  in  a  light  blue  coat  and  wears  a 
blue-white  mantle.  She  holds  on  her  knee  the  nude  Child,  who  gives  some 
flowers  to  the  infant  St.  John.  St.  John  wears  a  light  blue  shirt;  he  holds  the 
cross  in  his  left  arm  and  a  pear  in  the  right  hand.  He  is  seated  on  his  mother's 
lap;  she  is  dressed  in  a  costume  of  changing  colours  of  claret  and  green.     The 


FRENCH    PAINTERS    XV    TO    XIX    CENTURY 

wall  of  a  city  to  the  left,  with  a  church  spire,  and  blue  mountains  in  the  distance. 
Light  green  hills  to  the  right  and  a  house,  before  which  is  a  trumpeter. 
Left  Wing:    Joachim  and  Ann,   wearing  strong   red  and  blue  costumes, 
greet  each  other  at  the  golden  door  through  which  one  sees  a  street  with 
Gothic  palaces. 

Right    Wing:     The    presentation  of  the  Virgin.     In    the  foreground  Joa- 
chim and  Ann  watch  the  Virgin  ascending  the  steps  of  the  temple.     She  is 
seen  from  behind  and  wears  a  blue  costume.     A  high  priest  is  receiving  her. 
The  Outside  of  the   Wings:    The  Annunciation,   in  gray  colours  on    a 
black  background. 

Panel.     Centre  H.  35  in.     W.  295  in.     Wings.     H.  38J  in.     W.  145  in. 


SCHOOL  OF  SIMON   M  ARM  ION 

ABOUT    1480 

Simon  Marmion,  born  at  Amiens,  worked  in  Lille  and  Valenciennes  in  the 
second  half  of  the  fifteenth  century. 


n/  _  CHRIST  BEFORE  KAIPHAS.  To  the  right  sits  the  high  priest 
I  v  j  in  a  pink  mantle  and  blue  cap  holding  a  reed  in  his  right  hand.  From 
the  left  are  the  soldiers  coming  with  Christ  between  them.  His  hands  are 
bound  and  he  wears  a  blue  grey  coat.  The  soldier  to  the  right  has  a  brilliant 
green  jacket  with  red  sleeves  and  a  blue  cap;  the  one  to  the  left  wears  a  jacket 
of  red  velvet  brocade,  and  pink  breeches.  The  people  who  follow  Christ 
have  costumes  of  vivid  red,  blue,  and  green  colours.  In  the  background  a 
view  of  another  room,  in  which  Christ,  tied  to  a  column,  is  whipped  by  two 
men.     A  small  piece  of  landscape  is  seen  to  the  left. 

Panel.     H.  iof  in.     W.  13  in. 

The  connection  with  Simon  Marmion  has  been  first  observed  by  Dr.  Max 
J.  Friedlander  who  believes  the  work  to  be  made  either  in  the  North  of  France 
or  the  South  of  the  Netherlands. 


MASTER  OF  MOULINS 

North  French  (Paris)  artist  of  the  second  half  of  the  15th  century  under 
Flemish  influence.     Identified  by  some  with  Jean  Perreal  of  Paris. 

26 


FRENCH    PAINTERS    XV   TO   XIX   CENTURY 

nf  A    PORTRAIT  OF  A   YOUNG    MAN.     Turned   half  way  towards 
/  ^  ^\   the  right.     Dressed  in  black  with  a  black  cap.     He  holds  a  flower 

in  his  right  hand,  his  left  hand  is  laid  on  a  parapet  formed  by  the  frame.     Red 

background. 

Panel.     H.  14!  in.     W.  10  in.  forming  a  pointed  arch  at  the  top. 

Max.  J.  Friedlander  first  ascribed  this  painting  to  the  Master  of  Moulins. 
E.  v.  Bodenhausen  believes  it  to  be  by  Hugo  van  der  Goes. 


SOUTH  FRENCH  ARTIST 

ABOUT  I5OO 

rn(  r  THE  LEGEND  0F  SA1NT  SEBASTIAN.  The  Saint,  in  a 
I  ^  J  mantle  of  greenish-brown  brocade  having  a  scarlet  drapery  lined 
with  white  thrown  over  it,  and  holding  a  staff,  stands  in  an  Italian  Renais- 
sance room.  Near  by  a  monk  in  a  dark  green  cowl  is  knocking  down  with  his 
staff  one  of  the  four  antique  idols  on  the  wall.  In  an  adjoining  room  on  the 
left  an  angel  appears  to  a  sick  man  lying  in  a  fourpost  bed  with  a  scarlet 
coverlet.  A  youth  in  a  yellow  jacket  with  red  sleeves  and  a  red  cap  stands 
beside  the  bed. 

,—  /'  /^   The  Saint,  pierced  with  arrows,  is  bound  to  a  tree  on  the  right. 

J  \J\J  Archers  on  the  left,  the  foremost  spanning  his  bow,  and  two  men 
talking.  All  are  dressed  in  bright  coloured  green,  red  and  blue  costumes. 
The  hilly  landscape  stands  out  against  the  rosy  sky  with  heavy  black  clouds 
overhead. 

,—  /_  p—  The  Saint  is  standing  in  a  room  with  a  Gothic  fireplace  and  a 
I  ^  J  statuette  of  the  Madonna  on  a  cupboard  on  the  left.  An  old  man 
in  a  light  scarlet  cloak  kneeling  beside  him  on  the  right  and  a  nun  clad  in 
dark  brown  are  withdrawing  the  arrows  from  his  breast.  Two  youths, 
dressed  respectively  in  blue  and  brown,  are  lamenting  in  the  background. 

t-j  /CO   Three   men  in  yellow,  blue,   and   green   garments   are   cudgelling 
J  ^J  ^J   the  Saint  who  lies  dying  on  the  pavement  beneath  an  arched  door- 
way.    In  the  background  a  courtyard  surrounded  by  antique  buildings  (among 

27 


FRENCH    PAINTERS   XV   TO   XIX   CENTURY 

them  the  Colosseum  and  the  Arch  of  Constantine.  In  the  centre  a  well  into 
which  the  Saint  is  thrown  by  his  murderers. 

Panel.     H.  31!  in.     W.  2o|  in. 

The  artist  who  seems  to  have  been  of  South  French  origin,  worked  according 
to  Hulin  somewhere  near  the  Rhone  valley  and  must  have  been  influenced  by 
the  North  Italian  School.  The  architecture  seems  to  prove  that  he  had  seen 
Rome.     A  pieta  by  the  same  artist  is  in  the  possession  of  G.  Hulin  at  Ghent. 


B.     XVI  CENTURY 
FRANCO-FLEMISH  ARTIST 

ABOUT    I53O 

„/.  PORTRAIT  OF  FRANCOIS  I  OF  FRANCE.  Half  length. 
j  ^  )  Before  him  on  the  left  a  table  with  pink  cover,  on  which  his  right 
hand  rests  holding  a  glove.  The  left  hand  grips  his  sword.  He  wears  a  grey 
costume,  richly  decorated  with  gold  and  silver,  a  broad  fur  over  his  shoulders, 
and  a  bonnet  with  white  feather.     Green-blue  background. 

Panel.     H.    28  in.     W.  23  in. 

Max  J.  Friendlander  attributes  the  picture  tentatively  to  the  Master  of  the 
Death  of  the  Virgin.  Mentioned  by  A.  Marquand:  A  terracotta  bust  of 
Francois  I,  in  "Art  in  America"  Vol.  I,  1. 

Collection  of  Lucien  Bonaparte,  Paris  (Cat.,  18 12,  No.  75,  under  the  name 
of  Holbein). 
Sale,  Earl  of  Dudley,  London,  1892  (under  the  name  of  "Clouet"). 


FRANCOIS  CLOUET 

Born  probably  in  Tours  about  15 10,  died  in  Paris  in   1572.      Son  of    Jean 
Clouet.     Court  painter  of  Francis  I. 

n  n        PORTRAIT  OF  A  GENTLEMAN  (Said  to  be  the  Marechal  de  la 
J  J^J  Marche).      Half  length.     The   head   turned   slightly  towards    the 
left.     Blue  eyes  and  reddish  moustache  and  beard.     Dressed  in  black  with 
white  sleeves.     Black  cap  with  a  white  feather.     Green  background. 

28 


FRENCH    PAINTERS    XV   TO   XIX   CENTURY 

Panel.     H.  6f  in.     W.  5§  in. 

From  Lord  Northbrook's  Collection,  London. 


CORNEILLE  DE  LYON 

Born  in  Holland  (The  Hague?).     Court  painter  of  Henry  II,  Francis  II,  and 
Charles  IX,  1 544-1 574.     Worked  mostly  in  Lyons. 

,_—        PORTRAIT  OF  A  NOBLEMAN.     Half  length.     The  hands  not 

J  J  A    visible.     He  wears  a  dark  costume  with  puffed  sleeves  and  a  flat 

cap  with  a  white  plume.     Budding  beard  and  moustache.     Green  background. 

Panel.     H.  7!  in.     W.  6  in. 

Magniac  Collection 

Originally  attributed  to  Francois  Clouet 


In  the  Manner  of  FRANCOIS  CLOUET 

ririrs  PORTRAIT  OF  A  LADY  (Said  to  be  the  Duchess  of  Guise, 
I  J  ■"  mother  of  Mary  Stuart).  Half  length.  She  wears  a  black  dress 
with  puffed  sleeves  trimmed  with  gold  lace.  Gold  chains  about  her  throat 
and  waist.  Her  hands  are  folded  in  her  lap.  Coat  of  arms  in  the  upper  left 
hand  corner.     Grey  background. 

Panel.     H.  12  in.     W.  9J  in. 


C.     XVII  CENTURY 


NICOLAS  POUSSIN 

Born  in  Villers,  Normandy,  in  1594.  Died  in  Rome  in  1665.  Studied  in 
Paris,  and  later  under  Domenichino  in  Rome  where  he  also  made  studies  after 
Raphael.     Received  the  title  of  Peintre  du  Roi  in  Paris.      Lived  principally 

29 


FRENCH  PAINTERS  XV  TO  XIX  CENTURY 

in   Rome.     The  most  celebrated  historical  painter  in    France    during    the 
17th  century. 

n  ^  THE  BAPTISM  OF  CHRIST.  Christ  kneels  by  the  Jordan  in  a 
J  J  J)  hilly  southern  landscape,  while  John  the  Baptist  baptizes  him. 
Four  men,  all  turned  towards  the  left  and  gazing  at  the  Dove  which  has 
appeared  above  Christ,  are  disrobing  near  by.  Several  figures  by  the  water- 
side in  the  middle  distance.  Christ's  reddish  mantle  and  light  blue  robe, 
and  the  light  blue,  orange,  and  yellow  of  the  other  costumes,  supply  the 
most  vivid  notes  of  colour.  The  red-brown  flesh  tones  of  the  disrobing  men 
stand  out  against  the  grey-green  of  the  landscape  background. 

Canvas.     H.  36!  in.     W.  51  \  in. 

According  to  Dr.  W.  Friedlander  painted  about  1650  and  engraved  in  the 
17th  century  by  Pietro  del  Po. 


JACQUES  STELLA 

Born  at  Lyons  in  1596.  Died  in  Paris  in  1657.  Travelled  in  Italy,  where  he 
painted  for  the  Grand  Duke  Cosmo  of  Toscana.  In  Rome  he  studied  with 
N.  Poussin.  In  1634  he  became  painter  of  the  French  King.  Painter  of 
historical  and  religious  subjects. 

r-jr-,  a  THE  MOCKING  OF  CHRIST.  Half  length  figure.  Christ  is 
/  I  *\  robed  in  a  violet  mantle,  his  head  droops  downward  towards  the 
left,  and  He  holds  a  reed  in  His  bound  hands.  The  profile  of  a  scoffer  —  an 
old  man — who  is  mocking  Christ  protrudes  into  the  picture  in  the  right 
foreground.     Three  soldiers  stand  behind  Christ.     Dark  background. 

Panel.     H.  8|  in.     W.  6|  in. 


CLAUDE  GELLEE,  called  LE  LORRAIN 

Born  at  Chamagne  about  1600.  Died  at  Rome  in  1682.  Pupil  of  Agostino 
Tassi  in  Rome.  Influenced  by  the  Caracci,  by  Paul  Bril  and  Adam  Elsheimer. 
Worked  mostly  in  Italy  and  France.     The  figures  of  his  pictures  are  mostly 

30 


FRENCH    PAINTERS    XV   TO    XIX   CENTURY 

painted  by  F.  Lauri,  F.  Courtois,  and  others.     The  greatest  landscape  painter 
in  France  prior  to  the  19th  century. 

y—r-r-  SUNSET  ON  THE  BAY.  A  group  of  trees  shadows  the  fore- 
j  J  J  ground  and  part  of  the  sky  whose  reddish  light  is  reflected  in 
the  water  at  the  horizon.  The  bay  cuts  deeply  into  the  rocky  shore  almost 
surrounding  a  tower  built  on  the  rocks  on  the  left.  In  the  foreground  two 
men  lit  up  by  glancing  lights,  one  of  them  nude,  the  other  wearing  a  red 
cloak  which  stands  out  sharply  against  the  deep  blue  of  the  water.  A  shep- 
herd family  in  the  shade  on  the  right.     On  the  left  two  men  at  work. 

Canvas.     H.  1 8 J  in.     W.  23!  in.     Broad    oval. 

The  companion  piece  was  formerly  in   Mr.  P.  A.  B.  Widener's  Collection  in 

Philadelphia. 

Described  by  Waagen:  Treasures  of  Art,  IV,  390. 

From  Casa  Franchavilla,  Naples. 

Lord  Heytesbury's  Collection,  Wiltshire. 


FRENCH  ARTIST 

OF  THE    I7TH  CENTURY 

ririf.  DOUBTING  SAINT  THOMAS.     Before  a  background  of  Roman 
j  J  ^J  architecture,  Christ  is  standing,  holding  a  flag  and  surrounded  by 

ten  apostles.     Thomas  is  kneeling  before  him  and  holds  his  hand  upon  the 

wound  in  the  side  of  Christ.     Brown  sketch. 

Panel.     H.  1 5J  in.     W.  2 if  in. 

Under  the  influence  of  the  Rubens  School. 


D.     XVIII  AND  EARLY  XIX  CENTURY 


HYACINTHE  RIGAUD 

Born  at  Perpignan  in  1659.  Died  in  Paris  in  1743.  Son  of  the  painter 
Mathias  Rigaud.  Settled  in  Paris  in  1 68 1 .  Member  of  the  Academy  in 
1700.     He  painted  at  the  court  of  Louis  XIV  and  Louis  XV. 

31 


FRENCH    PAINTERS    XV   TO   XIX   CENTURY 

,_  —  ,_  PORTRAIT  OF  THE  ARTIST.     Half  length.     Turned  towards 
jjj  the  right,  the  head  facing  the  spectator.      A  greyish-brown  cloak 
with  yellow  facings  is  thrown  over  his  shoulders  and  he  wears  a  light  red 
velvet  cap.     Holding  a  palette  in  his  left  hand.     Grey-brown  background. 

Canvas.     H.  31!  in.     W.  25  in. 

Another  portrait  of  the  artist  is  in  the  Uffizi  at  Florence. 


JEAN-BAPTISTE  SIMEON  CHARDIN 

Born  in  Paris  in  1699.  Died  there  in  1779.  Pupil  of  N.  N.  Coypel.  In  1728 
member  of  the  Academy  and  Treasurer  in  1755.  Worked  mostly  in  Paris 
and  sometimes  in  Rouen.     Best  still  life  painter  in  France. 

,_  ,_  O  OLD  MAN  CARRYING  A  LIGHT.  A  man  in  white  nightclothes 
/  /  ^  and  nightcap,  carrying  a  light  in  his  hand  comes  towards  the 
spectator  calling  out  affrightedly.  He  holds  his  hand  in  front  of  the  light 
which  illuminates  him  strongly  and  falls  on  a  glass  on  the  table  and  the  frame 
of  a  picture  on  the  wall  in  the  background. 

Canvas.     H.  32!  in.     W.  25  in. 

__  OLD  WOMAN  SEATED  IN  A  STUDIO.  She  is  seated  on  the 
I  I  y  left,  seen  in  three-quarter  length  with  her  hands  folded  on  her 
breast,  wearing  spectacles  and  with  head  stretched  slightly  forward.  Plaster 
models  of  a  horse  and  of  a  dog's  head  stand  on  a  table  towards  the  right  and 
the  cast  of  a  child's  arm  hangs  on  a  stand  behind  them.  The  neck  of  a  violin 
resting  against  the  table  cuts  into  the  frame.  The  principal  notes  of  colour 
are  the  grey  of  the  old  woman's  jacket  and  her  grey-blue  skirt  to  which  the 
red  of  the  table  cover  is  harmonized.  This  red  is  reflected  in  the  model  of 
the  horse. 

Canvas.     H.  40!  in.     W.  36I  in. 

_Q        GIRL  DRAWING.     Three  quarter  length.      She  is  sitting  to  the 

J  Oyj   left  and  looks  at  the  spectator,  wearing  a  low  cut  white  dress   with 

blue  stripes,  trimmed  with  lace.      The  chair  of  which  the  back  is  partly 

visible  is  covered  with  red  material.     She  holds  a  sketch-book  upon  her  lap 

32 


FRENCH    PAINTERS    XV   TO   XIX   CENTURY 

and  is  occupied  with  drawing.     On  the  table  to  the  right  a  head  in  plaster  and 
two  books. 

Canvas.     H.  37  in.     W.  29  in. 


rjQj  PORTRAIT  OF  A  PEASANT  GIRL.  Bust.  She  is  smiling  and 
J  U  1  looks  at  the  spectator.  She  wears  a  white  shawl  around  her  head. 
Full  face,  large  mouth  and  fresh  ruddy  cheeks.  A  part  of  the  light  brown 
costume  with  blue  shawl  over  the  right  shoulder  is  visible.  Dark  grey 
background. 

Canvas.     Oval,  20  inches. 

Formerly  attributed  to  Frans  Hals. 

nQ~  GIRL  CLEANING  A  SAUCE  PAN.  A  girl,  in  a  white  dress  and 
J  O  <£  yellowish-brown  apron  stands  to  the  left  cleaning  a  sauce  pan  which 
she  has  placed  upon  a  barrel.  She  has  a  blue  ribbon  around  her  neck  and  a 
blue  underskirt  is  visible  at  her  feet.  A  copper  kettle  and  some  pans  are  in 
the  foreground. 

Canvas.     H.  iyf  in.     W.  14I  in. 

Replica  of  the  painting  in  the  collection  of  Baron  Henri  de  Rothschild  in  Paris. 
From  the  collection  of  Madame  Laperlier,  Algiers. 
Collection  Senator  Colin,  Paris. 

y—  Q  ~  STILL  LIFE.  A  basket  has  been  overturned  and  four  cabbages, 
j  vJ  J)  a  bunch  of  carrots,  and  a  few  onions  have  rolled  out  on  the  floor.  A 
grey  and  blue  earthen  jar  to  the  left,  and  a  brown  earthen  jar  to  the  right.  In 
the  foreground  a  pewter  jug  and  a  tea  kettle.  To  the  left  a  portion  of  a  cask 
is  visible  against  which  leans  a  broom.     Grey-brown  background. 

Canvas.     H.  io|  in.     W.  14!  in. 

Of  the  early  period  of  the  artist. 

!_Q    ,    STILL  LIFE.     On  a  table  covered  with  a  green  cloth  a  black  bottle 
/  O  Zj,   stands  to  the  left,  and  to  the  right,  behind  it,  a  skull  turned  to  the 
right.     A  red  knife  case  and  a  glass  are  in  front  of  the  skull. 

Canvas.     H.  io|  in.     W.  8|  in. 

33 


FRENCH    PAINTERS   XV   TO   XIX   CENTURY 

*"7  Q  C    STILL  LIFE.    Three  gherkins,  a  couple  of  onions,  and  some  cherries 

/  ^  J   are  lying  on  a  stone  table  with  a  grey  stoneware  jug  beside  them. 

The  red  of  the  cherries,  and  a  touch  of  light  red  and  yellow  in  the  onions  and 

gherkins  give  the  principal  notes  of  colour,  to  a  general  scheme  of  light  greys. 

Signed  on  the  edge  of  the  table:  Chardin. 

Canvas.     H.  14!  in.     W.  17!  in. 

Companion  piece  to  the  following. 

Mentioned  by  A.  Dayot  et  J.  Guiffrey:  Chardin,  p.  50. 

Sale,  M.  L.,  Paris,  April,  1895,  No.  9. 

,—  Q  f  STILL  LIFE.     A  brown  earthenware  jug  and  three  eggs  lie  on  the 
j  {-J^J  left  of  a  stone  table.     On  the  right  a  round,  reddish  box  containing 
a  white  cheese.     Grey  background.     Reddish  and  whitish-grey  tones  pre- 
dominate. 
Signed  at  the  edge  of  the  table  of  the  left:  Chardin. 

Canvas.     H.  14!  in.     W.  17!  in. 

Companion  piece  to  the  preceding. 

Mentioned  by  A.  Dayot  et  J.  Guiffrey:  Chardin,  p.  50. 

Sale,  M.  L.,  Paris,  April  1895,  No.  10. 

y—  Q  ,_  STILL  LIFE.  On  a  table  lies  a  napkin  with  an  artichoke  on  it  to 
J O  I  the  right;  behind  it  a  pewter  jug;  in  the  centre  a  large  cabbage; 
to  the  left  a  porcelain  bowl  and  earthen  jar  behind  it.  On  the  wall  hangs  a 
copper  pan  to  the  right.  Above,  on  the  wall,  a  shelf  from  which  a  ham  hangs 
in  the  centre,  and  is  the  most  important  piece  of  the  picture.  A  dish  with  a 
cheese  on  the  shelf  to  the  right  and  some  earthen  bowls  on  the  left.  Grey 
wall. 
Signed  in  the  lower  right  corner:  Chardin,  1774 

Canvas.     H.  41!  in.     W.  325  in. 

Very  likely  the  picture  in  the  Bouchardon  sale,   Paris,  Sept.    1808,  No.   33. 
(See  A.  Dayot  et  J.  Guiffrey,  p.  29). 


*~7  Q  Q  STILL  LIFE.     On  a  stone  table  in  the  centre  stands  a  fire  pot  with 

J  (JO  an  opening,  through  which  one  sees  the  glowing  coals.     On  this  is  a 

copper  kettle  in  different  shades  of  salmon  red  and  light  blue.     To  the  right 

34 


FRENCH    PAINTERS    XV   TO   XIX    CENTURY 

is  another  kettle,  some  carrots,  celery  and  a  dish  with  some  meat  in  it.     To 
the  left  two  onions,  a  bottle  and  an  earthen  jug.     Grey  wall. 

Canvas.     H.  25!  in.     W.  32  in. 

One  of  the  most  remarkable  pictures  by  the  artist. 

i-,On  STILL  LIFE.     Eight  onions  of  different  shades  of  yellowish  green, 
I       y   red,  and  light  brown  lie  on  a  table.     The  light  falls  on  them  from 
the  left  and  they  stand  out  boldly  against  the  dark  brown  background. 

Canvas.     H.  i8|  in.     W.  24!  in. 

Formerly  attributed  to  Murillo.     Dr.  V.  von  Loga  was  the  first  to  attribute 
the  picture  to  Chardin. 


JEAN  HONORE  FRAGONARD 

Born  at  Grasse  in  1732,  died  in  Paris  in  1806.  Pupil  of  Boucher  and  Char- 
din.  He  studied  in  Italy  with  Hubert  Robert.  The  period  of  his  success  in 
Paris  lasted  from  1763-1789.  Fragonard  was  the  last  and  greatest  of  the  great 
French  decorative  painters  of  the  18th  century. 

r-,  np.  GILLE.     PORTRAIT  OF  AN  ACTOR  IN  HARLEQUIN  COS- 
/  V        TUME.     Bust.     The  head  is  turned  slightly  to  the  right.     He 

wears  a  scarf  twisted  about  his  head  and  a  large  white  hat.     White  costume 

with  white  ruff.     Sketch. 

Canvas.     H.  13  in.     W.  10  in. 

Collection  of  Madame  Laperlier,  Algiers. 
Collection  of  Senator  Colin,  Paris. 


JACQUES   LOUIS    DAVID 

Born  in  Paris  in  1748.  Died  in  Brussels  in  1825.  Pupil  of  F.  Boucher  and 
Vien.  He  was  elected  to  the  Academy  in  1783.  In  1792  he  became  a  re- 
presentative in  the  Convention  and  was  thrown  into  prison  twice  after  the 
fall  of  Robespierre.     Napoleon  made  him  court  painter. 

35 


FRENCH    PAINTERS    XV   TO   XIX    CENTURY 

I  PORTRAIT  OF  A  YOUTH.  (Supposed  to  be  Napoleon.)  Bust. 
Facing  the  spectator.  Aged  about  fifteen  with  long  flowing  hair. 
Dark  costume  with  red  facings  and  white  frilled  collar  open  at  the  throat. 
Greyish-brown  background. 

Canvas.     H.  21  in.     W.  i6t  in. 


79 


LOUIS    LEOPOLD    BOILLY 

Born  at  La  Bassee,  near  Lille,  in  1761.  Died  in  Paris  in  1845.  He  exhibited 
frequently  from  1793-1824,  and  is  said  to  have  painted  more  than  5000  por- 
traits. Worked  at  Arras  and  Paris.  Painter  of  portraits  and  historical 
subjects. 

H  nO    P0RTRAIT  0F  A   YOUNG  MAN.     Bust.     The  hands  not  vis- 
l    )        ible.     Facing  the  spectator.     Wearing  a  dark  costume  with  high 
open  collar  and  white  waistcoat.     Grey  background. 

Canvas.     H.  8|  in.     W.  6f  in. 


JEAN  AUGUSTE   DOMINIQUE    INGRES 

Born  at  Montaubon  in  1780.  Died  in  Paris  in  1867.  Pupil  of  David.  In 
Rome  in  1800.  Influenced  by  Raphael.  1820-24  at  Florence.  After  that 
in  Paris,  where  he  became  the  leader  of  the  Classicists  against  the  Roman- 
ticists. In  1834  director  of  the  French  School  at  Rome.  Painter  of  portraits 
and  historical  pictures. 

n  C\1  MARTYRDOM  OF  SAINT  SYMPHORIEN.  The  Saint,  robed 
I  y  J  in  white,  stands  with  upraised  arms  in  the  centre  of  the  canvas,  and 
gazes  upward  with  imploring  eyes  towards  his  mother,  who  stands  behind  the 
city  wall  on  the  left,  pointing  with  one  hand  towards  the  opening  heavens  and 
gazing  down  with  an  inspired  expression.  Symphorien  is  surrounded  by  a 
closely  pressing  crowd  of  spectators  and  soldiers,  some  of  them  mounted,  some 
carrying  agricultural  implements.  An  overturned  table  in  the  left  foreground. 
A  few  weeping  women  and  children  among  the  crowd.     Red  and  blue  tones 

36 


FRENCH    PAINTERS    XV   TO    XIX   CENTURY 

predominate  in  the  costumes.     The  town  gate  with  statues  in  niches  in  the 

background. 

Signed  on  the  lower  right  hand:  J.  Ingres,  1865. 

Canvas.     H.  14J  in.     W.  I2|  in. 

Replica  of  the  large  painting  in  the  Cathedral  at  Autun,  which  Ingres  ex- 
ecuted in  1834. 

„n  a  PORTRAIT  OF  LOUIS  CHARLES  MERCIER  DUPATY, 
/  y  4  MEMBER  OF  THE  ACADEMY.  He  is  seated  near  a  table  in  a 
blue  covered  chair,  the  face  seen  in  front,  the  legs  turned  to  the  right.  He 
holds  the  right  hand  in  his  waistcoat,  the  left  hangs  loosely  over  the  chair. 
He  wears  a  long  frock,  white  waistcoat,  open  collar  with  a  white  shawl 
around  his  neck,  and  grey  trousers.  A  star  on  a  red  ribbon  in  his  coat.  On 
the  table  an  inkstand,  book,  and  paper. 

Canvas.     H.  34  in.     W.  44  in. 

Dupaty  (1775-1851),  the  brother  of  the  well-known  sculptor,  was  a  poet  and 
writer. 


JEAN  LOUIS  ANDRE  THEODORE  GERICAULT 

Born  at  Rouen  in  1791.  Died  in  Paris  in  1824.  In  1808  pupil  of  Carle 
Vernet  and  Guerin.  In  1816  he  went  to  Italy.  After  his  return  in  1819  he 
exhibited  his  masterpiece  "The  Raft  of  Medusa."  He  then  stayed  in  Eng- 
land, where  he  began  to  lithograph.     Painter  of  historical  subjects  and  horses. 

rj  ~  c-  STUDY  FOR  "THE  RAFT  OF  MEDUSA"  Half  length  figure  of 
/7y  a  man,  who,  with  head  thrown  back,  clings  to  a  reefed  sail.  His 
face,  distorted  by  suffering,  and  his  muscular  right  arm  are  strongly 
illumined  from  the  left.  A  red  handkerchief  around  his  neck.  The  sail  is 
white  with  bluish  cords. 

Canvas.     H.  315  in.     W.  25  in. 

Painted  in  1819  for  "The  Raft  of  Medusa"  in  the  Louvre,  Paris. 

A  sketch  of  the  whole  composition  is  in  the  Metropolitan  Museum  of  Art, 

New  York. 

1  Cif>  THE  CHARC0AL  WAGON.     The  cart,  loaded  with  sacks,   is 

I  y        going  down  hill  towards  the  left.      A  man  dressed  in  light  blue  is 

seated  on  the  sacks,  sharply  defined  against  the  blue-green  evening  sky.     The 

37 


FRENCH    PAINTERS    XV   TO   XIX   CENTURY 

wagon  is  drawn  by  five  horses,  the  first  three  white,  the  last  two  brown,  one 

of  the  latter  led  by  a  teamster  dressed  in  light  blue.     A  glimpse  of  dark  blue 

sea  with  a  couple  of  sails  in  the  left  background,  the  sky  above  it  veiled  with 

dark  grey  clouds.     The  sun  shines  on  the  horses  and  on  the  stony  yellow 

road. 

Signed  at  the  bottom  in  the  centre:  Gericault. 

Canvas.     H.  15!  in.     W.  22I  in. 

Painted  during  the  stay  of  Gericault  in  England,  about  1820. 
Reproduced  in  Ch.  Clement:  Gericault,  Paris,  1879. 

HCll   WOUNDED    SOLDIER.       Bust.     Facing    the    spectator.     Both 
I  y  l    hands  clasped  to  his  breast.       Pointed  beard  and  moustache.     A 
white  bandage  covers  his  forehead  and  right  eye.      Dark  uniform  with  red 
and  white  facings.     Brown  background. 

Signed  in  the  upper  right  hand:  Gericault,  182.  .  .  (the  last  figure  not  dis- 
tinct, but  very  likely  an  o.) 

Canvas.     H.  30  in.     W.  25  in. 


38 


SPANISH    PAINTERS 
XV  TO  XIX  CENTURY 


SPANISH   PAINTERS 
XV  TO  XIX  CENTURY 


CASTILIAN    ARTIST 

SECOND  HALF  OF  THE  XV  CENTURY 


y~1  „  O  A  PROCESSION.  The  procession  emerges  from  a  narrow  street 
/  )  on  the  right  and  winds  its  way  round  a  citadel  on  the  left.  A 
priest  is  leading  accompanied  by  two  clerks  in  gold  vestments,  and  carries  a 
miraculous  image  of  Our  Lady  of  Sorrows.  In  front  of  the  priest,  two  boys 
carrying  golden  candlesticks.  An  angel  drawing  a  sword  on  the  battlements 
of  the  citadel.  Individual  portions  of  the  costumes  and  decorations  in 
stucco  and  gold. 

Panel.     H.  35-i  in.     W.  28§  in. 


CASTILIAN    ARTIST 

SECOND  HALF  OF  THE   XV  CENTURY 

1  ClCl  THE  MASS  °F  SAINT  GREG0RY-  Saint  Gregory,  wearing  a 
I  y  )  blue  cape  decorated  with  red  velvet  brocade  and  holding  up  the 
host,  is  kneeling  before  an  altar  to  the  right.  In  front  of  him  appears  Christ 
coming  out  of  the  tomb  and  resting  on  the  side.  He  wears  a  bluish-white 
mantle,  and  is  bleeding.  Behind  the  Saint  a  priest  in  a  red  mantle  holding 
his  tiara,  a  clerk  dressed  in  gold  brocade  with  green  border  with  a  candle  and 
another  priest  in  cherry  red  mantle  and  cap  reading  the  mass.  The  chapel 
has  a  floor  of  Spanish  Gothic  tiles  and  is  lighted  through  two  small  windows 
with  bulls-eye  glass.      The  door  to  the  left  is  open  and  gives  a  view  of  the 

4' 


SPANISH   PAINTERS   XV  TO  XIX   CENTURY 

street.     The  nimbus,  the  tiara,  and  the  objects  on  the  altar  in  raised  gold 
decoration. 

Panel.     H.  40  in.     W.  38  in. 


CATALAN  IAN    ARTIST 

ABOUT   I47O 

O  THE  FOUNDING  OF  THE   ORDER  OF  SAINT   FRANCIS. 

OvJvJ  The  Pope,  in  a  red  robe  and  gold  brocaded  mantle,  is  seated  on  a 
throne  to  the  right,  blessing  Saint  Francis,  his  left  hand  resting  on  an  open 
Bible  on  his  knee.  Saint  Francis,  whose  name  (S.  Francisco)  is  inscribed 
in  his  golden  nimbus,  kneels  on  the  left  with  six  brothers  of  his  Order,  all 
in  grey  robes.     Two  trees  are  visible  through  the  window. 

Panel.     H.  48J  in.     W.  33!  in.     The  top  is  triangular  in  form. 


CASTILIAN    ARTIST 

ABOUT    I47O 


Qn  T  THE  COLLECTION  OF  MANNA.  A  hilly  landscape  with  a 
OW  1  few  scattered  trees.  The  king,  in  the  right  foreground,  is  dressed 
in  red  brocade  and  is  conversing  with  a  prophet  who  stands  near  him,  and 
who  is  dressed  in  a  long  mantle  of  brown  brocade.  A  number  of  men  are 
collecting  the  manna  in  baskets  and  carrying  it  away,  while  others  are  gazing 
into  a  well  in  astonishment  at  finding  water.  Women  and  men  are  vis- 
ible behind  the  king.     Gold  pressed  background. 

Panel.     H.  22  in.     W.  16J  in. 


CATALAN  I  AN  ARTIST 

LATE  FIFTEENTH  CENTURY 

O  CHRIST   IN  THE   GARDEN  OF  GETHSEMANE.     Christ,   in 

UUz  a  dark  grey-brown  costume,  is  kneeling  to  the  left  in  prayer;  the 
angel  with  the  beaker  appears  above  him  to  the  left.  The  three  apostles 
sleep  to  the  right,  one  enveloped  in  a  white  mantle  in  the  foreground.     Judas, 

42 


SPANISH    PAINTERS    XV  TO   XIX   CENTURY 

in  an  orange  coloured  coat,  is  approaching  in  the  centre  of  the  background, 
leading  the  soldiers  who  are  carrying  torches  and  spears.  Rocky  landscapes 
with  thick  bushes.     Light  blue  sky. 

Panel.     H.  16  in.     W.  18  in. 

Belonging  to  the  two  following  panels  with  which  it  very  likely  formed  the 
predella  part  of  a  large  altarpiece. 


8„  _  PI  ETA.  The  Virgin  is  sitting  under  the  cross,  of  which  only  the 
^ JJ  lower  part  is  visible,  and  holds  the  body  of  Christ  in  her  lap.  She 
wears  a  dark  red  costume  and  bluish-white  mantle  covering  her  head.  An 
old  man  and  a  younger  one  to  the  right  and  the  left  hold  the  white  cover  on 
which  Christ  is  lying.  St.  John  and  a  woman  to  the  left  behind  the  Virgin. 
St.  Magdalene,  Joseph  of  Arimathea,  and  a  third  woman  to  the  right.  In 
the  background  a  rocky  mountain  and  the  sea  with  some  boats  to  the  left. 
Blue  sky. 

Panel.     H.  16  in.     W.  18  in. 

8  THE  RESURRECTION.     Christ  is  standing  with  the  cross  on  the 

^  ^\  corner  of  the  stone  sarcophagus  which  is  placed  diagonally  to 
the  right.  On  the  stone  cover,  which  has  been  moved,  an  angel  in  white 
dress  with  folded  hands.  Four  soldiers  are  crouching  near  the  tomb;  only 
the  helmets  of  two  are  visible.  Christ  wears  a  dark  purple  costume.  The 
two  soldiers  in  the  foreground  are  clothed  in  dark  red  and  yellow-brown. 
In  the   background  a  city  and  blue  mountains. 

Panel.     H.  16  in.     W.  18  in. 


LUIS  DE  VARCAS 

Born  at  Seville  in  1502;  died  there  in  1568.  Pupil  of  D.  de  la  Barrera.  He 
worked  for  twenty-seven  years  in  Rome.  Painter  of  religious  subjects  and 
portraits. 

O  THE   CRUCIFIXION   OF   CHRIST.     Christ   is   seated   on    the 

Owp  Cross  to  the  right,  and  rests  His  head  in  His  hand,  while  one  of 
the  executioners  holds  Him  by  the  shoulder  and  another  drills  a  hole  in  the 
Cross.  Joseph  of  Arimathea  and  seven  other  men  in  a  group  to  the  left, 
mostly  in  light  blue  and  reddish-brown  mantles,  looking  sorrowfully  at  Christ, 

43 


SPANISH    PAINTERS    XV   TO   XIX   CENTURY 

Two  mounted  soldiers  are  approaching  from  the  right,  and  a  man  running 

before  them  is  driving  away  the  throng.     The  donor,  of  negro  type,  with  black 

hair,  kneels  to  the  right  with  folded  hands;  he  is  clothed  in  a  dark  brown 

mantle.     A  basket  containing  nails  and  other  instruments  stands  in  the  left 

corner. 

Underneath  is  the  signature: 

LYISIYS  DE  VARGAS  FAC1EBAT 

Panel.     H.  34 1  in.     W.  29I  in. 


JUAN   DE  J  LANES 

Vicente  Juan  Macys,  called  Vicente  Joanes,  or  Juan  de  Juanes.  Born  in 
Fuente  la  Higuera  in  1507.  Died  in  Boeairente  in  1579.  Probably  formed 
his  style  on  that  of  the  Raphael  School  in  Rome.  Head  of  the  Yalencian 
School  of  the  XVI  century. 

O  /  MADONNA  ENTHRONED  WITH  SAINTS.  The  Virgin  is 
OwW  seated  on  a  throne  hung  with  red  brocade  holding  a  lily  in  her  left 
hand,  while  her  right  supports  the  Child,  who  is  nude  and  is  sitting  on  her 
knee  holding  a  bird  in  His  hand.  On  the  left  Saint  Hieronymus,  holding  the 
model  of  a  church  in  one  arm,  is  offering  a  book  to  the  Child.  On  the  right 
Saint  Michael  plunges  his  lance  into  the  Devil's  mouth.  In  the  background 
on  either  side  of  the  throne  angels  with  implements  of  martyrdom.  The 
red  of  Saint  Hieronymus's  mantle,  which  is  repeated  in  the  Virgin's  robe 
and  in  the  hanging  of  the  throne,  gives  the  chief  note  of  colour.  Saint  Michael 
wears  a  golden  brown  breastplate,  and  the  Virgin  a  pale  blue  coif  and  dark 
blue  mantle  over  her  red  robe.      Gold  background  and  golden  nimbi. 

Panel.     H.  48!  in.     W.  35J  in. 


EL  GRECO,  called   DOMENICO  THEOTOCOPUL1 

Born  at  Kreta.  Died  at  Toledo  in  161 4.  Pupil  of  Titian  at  Venice.  In- 
fluenced at  Venice  also  by  Tintoretto  and  Michelangelo.  After  1575  at 
Toledo.     Painter  of  portraits,  historical  subjects,  landscape  and  genre  scenes. 

44 


SPANISH    PAINTERS    XV   TO   XIX    CENTURY 

8^  PI  ETA.  The  Virgin  holds  the  body  of  the  dead  Christ  on  her 
^  /  knee,  Mary  Magdalene  supporting  it  under  the  arms  on  the  left  and 
Saint  John  on  the  right.  The  Virgin  robed  in  red,  her  blue  mantle  thrown 
over  her  head,  is  gazing  despairingly  towards  Heaven.  The  Magdalene  in 
a  yellow  costume  with  a  wine-red,  blue  lined  mantle,  and  Saint  John  in  a 
yellowish-red  robe  and  a  brown-green  mantle  with  his  back  to  the  spectator. 
The  group  which  is  triangular  in  form  stands  out  against  a  yellow  hill  with 
the  three  crucifixes  on  the  left  and  a  blue-violet  clouded  sky. 
Signed  in  Greek  characters  on  the  lower  left  hand:  DOMENICUS  THEO- 
TOCOPULO. 

Panel.     H.  n|  in.     W.  8  in. 

Of  the  first  period  1 577-1 584. 

Study  for  the  Pieta  in  the  possession  of  Trotti  &  Co.,  at  Paris  (Reproduced 
by  M.  B.  Cossio,  El.  Greco,  PI.  25.)  A  similar  composition  of  larger  size  in 
the  possession  of  Mr.  Archer  M.  Huntington,  New  York. 

OO  PORTRAIT  OF  A  LADY.  Bust.  The  hands  not  visible.  She 
OUO  wears  a  dark  dress,  faced  at  the  neck  with  red,  which  is  slightly 
veiled  by  the  black  edged  veil  thrown  over  her  dark  hair.  Ruby  ornaments 
at  her  throat.     Dark  background. 

Panel.     H.  15!  in.     W.  i2§  in. 

Early  period.     Formerly  called  Princessa  de  Eboli. 

M.  B.  Cossio:  El  Greco,  1908,  p.  419,  is  against  the  opinion  that  the  portrait 

represents  the  wife  of  Greco.     Is  reproduced  in  Cossio's  book,  1 186. 

Exhibited  in  London  Guildhall,  1901. 

Collection  Marquis  de  la  Vega  Inclan,  Toledo. 

SDH  CHR1ST  0N  THE  CR0SS  WITH  THE  VIRGIN  AND  SAINT 
^^^7  JOHN.  The  pale  body  of  the  Christ  stands  out  against  a  black 
sky  with  patches  of  light.  The  Virgin  on  the  left,  in  a  blue  mantle,  gazes  at 
the  Cross,  her  hands  clasped  together  in  prayer.  Saint  John,  in  a  green  robe 
and  a  light  red  mantle,  speaks  to  her,  gesticulating  with  both  hands.  A 
town  (Toledo)  stands  on  a  hill  in  the  right  background.  Several  horsemen 
on  the  road  leading  towards  it. 

Canvas.     H.  62!  in.     W.  38  in. 

Of  the  last  period,  1604-1614.  A  Crucifixion  of  the  same  style  in  the  church 
of  S.  Nicholas  at  Toledo,  and  in  the  Louvre,  Paris. 

45 


SPANISH    PAINTERS   XV   TO    XIX   CENTURY 

PEDRO    ORRENTE 

Born  at  Montealegre  in  the  kingdom  of  Murcia  about  1 560.  Died  at  Toledo 
in  1644.  Probably  a  pupil  of  El  Greco.  Travelled  in  Italy  and  became  a 
follower  of  the  Venetian  School,  especially  of  Bassano.  Worked  in  Madrid, 
Seville,  and  Toledo.  Painter  of  landscapes  with  animals,  biblical  subjects  and 
portraits. 


8 


PORTRAIT  OF  THE  ARTIST.  Half  length.  Turned  partly 
*  ^  towards  the  left,  the  head  facing  the  spectator.  His  right  hand 
rests  on  a  chair  and  he  holds  his  palette  in  the  left.  Dressed  in  black  with 
a  white  collar.     Dark  background. 

Canvas.     H.  28J  in.     W.  23!  in. 


JUSEPE  DE  RIBERA,  called  SPAGNOLETTO 

Born  at  Jativa  (now  San  Felipe)  near  Valencia  in  1588.  Died  at  Naples  in 
1652.  Pupil  of  Francisco  Ribalta  at  Valencia.  Studied  at  Rome,  Parma, 
Venice  and  became,  at  Naples,  influenced  by  Caravaggio.  Worked  mostly  at 
Naples.     Painter  of  religious  subjects. 

A  MADONNA  AND  CHILD.  Half  length.  She  inclines  to  the  left  over 
the  Child  whom  she  presses  to  her  breast.  Her  dark  blue  mantle  reveals 
red-brown  sleeves.  She  wraps  the  Child  in  a  yellow  scarf  which  falls  from 
her  neck. 

Canvas.     H.  29!  in.     W.  23!  in. 

Early  work.  Reproduced  and  described  as  "Roman  School"  in  Vol.  I  of  this 
catalogue.     See  No.  281. 


SAINT  JAMES    THE    APOSTLE.     Bust.     The    hands,   uplifted 
A    A    towards  the  left,  clasp  his  staff;  the  bearded  face  faces  towards  the 


8 

right.  He  wears  a  dark  brown  robe,  to  which  a  cockleshell  is  fastened.  A 
light  blue  mantle  is  thrown  over  his  arm.  Brown  background,  lightening 
towards  the  lower  half  of  the  canvas. 

Canvas.     H.  24!  in.     W.  i8|  in. 

46 


SPANISH    PAINTERS    XV   TO   XIX   CENTURY 

DIEGO   RODRIGUEZ   DE  SILVA   Y  VELASQUEZ    (?) 

Born  at  Seville  in  1 599.  Died  in  Madrid  in  1660.  Pupil  of  Francisco  Herrera. 
the  elder,  then  of  Francisco  Pacheco  at  Seville.  Influenced  by  Ribera. 
Was  in  Italy  on  three  different  occasions.  Worked  at  Seville  and  Madrid, 
where  he  became  court  painter.     Painter  of  portraits  and  historical   subjects. 


8 


MARIA  THERESA  OF  AUSTRIA.  Half  length,  the  hands  not 
1  ^  visible;  turned  slightly  towards  the  right;  grey-green  costume; 
elaborately  dressed  hair  with  knots  of  ribbon.  Inscribed  above  on  the  black 
background:  LINFANTE  MARIE  THEREZE 

Canvas.     H.  21  in.     W.  24  in. 

Very  likely  one  of  the  atelier  replicas  which  was  made  as  a  present  for  one  of 
the  European  courts.     Other  portraits  of  Maria  Theresa  of  Austria  in  the 
Prado  Museum,  Madrid,  at  Vienna,  and  in  private  possession  in  London. 
Collection  of  Marquis  of  Dover. 
Collection  of  Viscount  Clifden,  sold  at  Christies,  May  6,  1893. 

8  PORTRAIT  OF  A  GENTLEMAN.      Bust,  the  hands  not  visible. 

1  J)    His  dark  hair  is  brushed  smoothly  back  and  he  wears  a  grey,  upturned 
moustache  and  chin  tuft.     Small  white  collar.     Brown  background. 

Canvas.     H.  23  in.     W.  18  in. 

The  painting  is  perhaps  by  Pacheco,  the  teacher  of  Velasquez.  (Compare  the 
portrait  of  a  knight  of  Alcantara  by  this  artist  in  the  collection  of  Sir  Frederick 
Cook  in  Richmond.) 


After  VELASQUEZ 

8  CAVALIERS  WITH  A  DOG.     The  scene  is  taken  from  the  paint- 

*  t\  ing  in  the  London  National  Gallery,  "Philip  IV  Hunting  the  Boar." 
The  dog  on  the  left,  facing  the  spectator,  has  been  given  another  place  beside 
one  of  the  cavaliers.  The  cavalier  on  the  right  is  dressed  in  pink,  the  second 
in  black  and  the  third  in  a  grey  cloak. 

Canvas.     H.  19J  in.     W.  14J  in. 

47 


SPANISH    PAINTERS    XV    TO   XIX   CENTURY 

JUAN  BATTISTA  DEL  MAZO  MARTINEZ 

Born  in  Madrid,  1610.  Died  there  in  1687.  Educated  in  the  school  of  Vel- 
asquez, whose  daughter  he  afterward  married,  and  whom  he  succeeded  as  court 
painter  to  Philip  IV.  Painter  of  portraits,  landscape,  sea  pieces  with  views 
of  towns  and  hunting  scenes.  Much  employed  by  Philip  IV  in  copying  the 
celebrated  Venetian  pictures  in  the  royal  collection. 

8  PORTRAIT  OF  A  YOUNG  LADY.     Half  length,  turned  slightly 

'  J  towards  the  left.  She  wears  a  knot  of  red  in  her  flowing  brown  hair, 
and  earrings  set  with  pearls.  Black  dress  with  white  slashed  sleeves  and  a  lace 
collar.  Her  left  hand  fingers  a  pearl  brooch  at  her  breast  containing  a  minia- 
ture of  the  Virgin.  She  holds  a  fan  in  her  right  hand  which  rests  on  a  red 
bound  book.     Brown  background. 

Canvas.     H.  20.  in.     W.  23!  in. 

Formerly  under  the  name  of  Murillo.     Attributed  to  Mazo  by  Dr.  V.  von 

Loga. 

Louis  Philippe  Auction,  Paris. 

T.  C.  Robinson  Collection,  London. 


BARTOLOME  ESTEBAN  MURILLO 

Born  in  Seville  in  1618.  Died  there  in  1682.  Pupil  of  Juan  de  Castillo  at 
Seville.  Studied  at  Madrid  in  1642-45  under  influence  of  Velasquez,  Ribera, 
and  Rubens.     Worked  mostly  at  Seville.     Painter  of  portraits  and   religious 

subjects. 

Q  /  CHRIST  IN"  THE  DESERT.  Christ,  in  a  warm  red  robe  and  blue 
O  1  W  mantle,  is  seated  on  the  left  turning  with  a  gesture  of  astonishment 
towards  an  angel  on  the  right  who  is  placing  two  platters  of  steaming  food  on  a 
white  covered  table  before  him.  A  second  angel  on  the  right  is  taking  food 
out  of  a  vessel.  Two  cherub  heads  in  the  foreground,  others  flying  overhead 
on  the  left.  Overhead  on  the  right  the  devil  is  flying  away.  Two  white 
hares  in  the  foreground.  Sketch. 
Canvas.  H.  2if  in.  \Y.  28  in. 
Rev.  Henry  Heath  Collection. 

48 


SPANISH    PAINTERS    XV    TO    XIX   CENTURY 

IGNACIO  DE   IRIARTE 

Born  1620  at  Azcoitia  in  the  province  of  Guipuzcoa.  Went  to  Seville  in  1642. 
In  1646  lived  at  Aracena,  but  afterward  returned  to  Seville.  In  1660  appoin- 
ted first  secretary  to  the  Academy  of  Seville.  Intimate  friend  of  Murillo 
and  frequently  engaged  in  joint  works  with  him.     Died  at  Seville  in  1685. 

8_  THE  VISION  OF  SAINT  ANTHONY  OF  PADUA.  The  saint 
A  J  kneels  at  the  left  near  a  cliff  embracing  the  nude  Christ  Child  who, 
gazing  towards  Heaven,  is  seated  before  him  on  a  white  cloth.  He  holds  a  lily 
in  His  right  hand.     A  river  on  the  right  hand  side  of  the  canvas. 

Canvas.     H.  9!  in.     W.  14  in. 

Attributed  to  Iriarteby  Dr.  V.  von  Loga. 


FRANCISCO  GOYA  Y  LUCIENTES 

Born  in  Fuendetodos  (Aragon)  in  1746.  Died  in  Burdeos  in  1828.  Painter 
at  the  court  of  Charles  IV.  Painter  and  engraver  of  portraits,  historical 
scenes  and  satirical  subjects.  He  worked  also  for  the  tapestry  factory  at 
Madrid. 

8  O  PORTRAIT  OF  THE  ACTOR  MAIQUEZ.  Half  length,  wearing 
A  ^  greenish-blue  trousers,  grey  vest  and  a  black  jacket.  Turned  slightly 
towards  the  right,  looking  out  of  the  picture.  His  right  hand  is  concealed  in 
his  vest,  his  left  rests  on  his  hip.     Grey  background. 

Canvas.     H.  365  in.     W.  27!  in. 

About  1793. 


8 


.  PORTRAIT  OF  THE  WIFE  OF  MAIQUEZ.  She  is  seated  be- 
*  M  side  a  table  on  which  her  right  arm  rests,  wearing  a  white  empire 
gown  with  low  neck  and  short  sleeves  and  a  blue  silk  girdle.  Loosely  flowing 
black  hair.  Looking  smilingly  at  the  spectator.  A  violet-brown  cover 
embroidered  in  flowers  on  the  table. 

Canvas.     H.  365  in.     W.  27!  in. 

About  1808. 

49 


SPANISH    PAINTERS    XV   TO   XIX   CENTURY 

8-  _  MOUNTED  CAVALIER  WITH  GARROCHA.  Sketch  in  oils. 
■£^J  He  is  seated  on  a  brown  horse,  turned  towards  the  left  with  head 
facing  the  spectator,  holding  a  lance  at  rest  in  his  right  hand.  Dressed  in 
purple-red  velvet  with  a  blue  vest  and  a  three-cornered  hat.  Red  saddle. 
Blue  hills  in  the  background  and  grey  clouded  sky. 
Signed  on  the  lower  right  hand :  F  GOYA 

Canvas.     H.  15!  in.     W.  i2§  in. 

Painted  about  1787. 

A  similar  picture  in  the  Prado  Museum  (No.  733)  which  seems  to  be  a  study 

for  a  large  picture  representing  bulls  being  transported  to  the  corral,  painted 

in  1 787,  in  possession  of  the  Due  de  Montellano. 

Compare  V.  von  Loga :  F.  de  Goya,  p.  62. 


EUGENIO    LUCAS 

Worked  in  the  middle  and  second  half  of  the  XIX  century  at  Madrid  and 
imitated  Goya. 


8 


_  T  THE  LOVE  LETTER.  Two  Spanish  girls  are  seated  close  together 
■^  *■  on  a  bench,  while  one  of  them,  wearing  a  black  dress,  reads  a  letter 
aloud.  The  second  is  dressed  in  blue  and  yellow  with  a  red  girdle.  In  the 
right  background  an  old  woman  with  a  stick  is  directing  an  old  man  in  a  three- 
cornered  hat,  towards  the  right. 
Signed  on  the  lower  left  hand:  E  LUCAS,  1864. 

Canvas.     H.  \i\  in.     W.  9!  in. 


50 


ENGLISH   PAINTERS 
XVIII   AND   XIX   CENTURIES 


note:  the  pictures  marked  with  the  initials  w.  r.  at  the  end 
of  the  descriptions  designate  those  which  have  been  seen  and 
accepted  by  mr.  w.  roberts.  also  most  of  the  notes  following 
the  descriptions  are  due  to  his  researches. 


ENGLISH  PAINTERS 
XVIII  AND  XIX  CENTURIES 

I.    ENGLISH  PAINTERS,  XVIII  CENTURY 

A.     FIRST   HALF    XVIII    CENTURY 

WILLIAM    HOGARTH 

Born  at  London  in  1697.  Died  in  1764  in  his  house  at  Lincoln's  Inn  Fields. 
From  1712-1718  he  was  in  a  silversmith  shop;  then  began  engraving.  After 
1728  he  started  with  painting.  Painter  and  engraver  of  portrait  and  genre 
scenes. 


8 


_  _  FAMILY  PORTRAIT.  A  young  man  in  a  red  velvet  coat,  seen 
■£  -^  from  the  back;  a  young  lady  in  white  satin,  her  mother  and  a  little 
girl  are  seated  at  a  table  playing  cards.  The  mother  holds  out  a  card  to  the 
young  man  who  seems  to  regard  it  with  horror.  The  father  standing  behind  the 
table  points  to  the  young  woman  who  shows  him  her  cards  and  seems  to  ask 
his  advice.  A  maid  servant  with  glasses  near  a  window  on  the  left.  A 
fire  is  burning  in  the  fireplace  on  the  right,  above  which  a  landscape  painting 
hangs.     W.   R. 

Canvas.     H.  24I  in.     W.  29!  in. 

Possibly  the  picture  sold  at  Christies  in  1893. 

Q--  PORTRAIT  OF  MRS.  BUTLER,  OLIVER  GOLDSMITH'S 
0  2J  LANDLADY  AT  ISLINGTON.  Three-quarter  length.  She  is 
seated  beside  a  table  on  which  she  rests  both  hands,  turned  towards  the  left, 
her  head  facing  the  spectator.     Golden   brown   dress  with   a  white   shawl 

53 


ENGLISH    PAINTERS    XVIII    AND    XIX    CENTURIES 

thrown  over  her  head  and  shoulders.      She  wears  a  white  apron.     Dark  grey 

background. 

W.  R. 

Canvas.     H.  29!  in.     W.  25J  in. 

The  real  name  of  the  lady  was  Mrs.  Elizabeth  Fleming.     Compare  Foster's 

Life  of  Goldsmith,  Chap.  VII. 

Mentioned  in  Dobson  and  Armstrong,  William  Hogarth,  p.  176. 

Exhibited  in  Suffolk  Street,  London,  1832. 

Collection  of  Mr.  Robert  Graves,  London.     Collection  of  Mr.  Henry  Graves, 

London. 

Engraved  by  Stripple. 


RICHARD  WILSON 

Born  at  Pinegas  in  17 14.  Died  at  Llanberis  in  1782.  Pupil  of  Thomas  Wright 
at  London  in  1729.  He  painted  portraits  at  first;  in  Italy,  however,  he 
began  landscape  painting  under  the  influence  of  Claude,  Zuccarelli,  and  Vernet. 
Foundation  member  of  the  R.  A.  in  1768.  First  great  English  landscape 
painter. 

8  THE  CASTLE  BY  THE  SEA.     An  old  castle  with   two  ruined 

-^  ^-j-  towers,  one  round,  the  other  octagonal,  stands  on  an  island  in  the 
centre  of  the  canvas.  A  park  extends  behind  the  castle,  and  a  bridge  and  high 
cliff  on  the  right.  On  the  left,  farther  back,  a  chain  of  mountains.  A  man 
is  resting  on  a  rock  on  the  shore  in  the  foreground,  conversing  with  two  soldiers 
who  stand  behind  the  rock.     Cloudy  sky.     Warm  yellow  tones.     W.  R. 

Canvas.     H.  17!  in.     W.  2i|  in. 


ENGLISH  ARTIST 

MIDDLE  OF  EIGHTEENTH  CENTURY 

8_  £,    STILL  LIFE.     A  mezzotint  print  of  a  portrait  of  Mr.  Alexander 
■^  J    Pope,   painted  by  G.   Kneller  in    1716,  and  printed  by  J.   Smith, 
in  1 71 7,  is  hung  on  a  panel  background.     Underneath  a  pink  ribbon  tacked 

54 


ENGLISH    PAINTERS    XVIII    AND    XIX   CENTURIES 

on  the  panel  in  which  sticks  a  knife,  a  pen  and  a  letter  addressed  to  Mr.  John 
Norman  Tiverton. 

Canvas.     H.  29!  in.     W.24  in. 


B.    ABOUT   1750-90 


SIR    JOSHUA    REYNOLDS,    P.  R.  A., 

Born  at  Plympton  in  Devonshire  in  1723.  Died  at  London  in  1792.  Pupil 
of  Hudson,  his  style  developed  by  the  study  of  the  Italian  masters  in  Italy 
between  1749  and  1752,  and  especially  of  Rembrandt.  In  1768  he  became 
president  of  the  new  Royal  Academy  of  Arts.  Created  Painter-in-Ordinary 
to  George  the  Third  in  1785.  He  exhibited  altogether  245  works  at  the  R.  A. 
Painter  of  portraits,  landscapes  and  historical  composition. 

00f  PORTRAIT  OF  JOHN  DUNNING,  LORD  ASHBURTON. 
O  J*  \J  Three-quarter  length.  Seated  beside  a  table  on  the  right,  his  left  hand 
on  the  arm  of  his  chair,  his  right  resting  on  a  sheet  of  paper.  He  wears  a  grey 
wig,  and  is  dressed  in  a  warm  shade  of  red.  An  inkstand  and  some  books  lie 
on  the  table.     A  glimpse  of  tree  tops  through  a  window  on  the  left.     W.  R. 

Canvas.     H.  36I  in.     W.  62%  in. 

From  the  Collection  of  Lady  Cranston. 

8n  PORTRAIT  OF  THE  ARTIST.  Bust.  Turned  slightly  towards 
<£  j  the  right,  the  head  facing  the  spectator.  Aged  about  thirty  or 
thirty-five.  Dressed  in  yellowish-brown  with  a  white  stock.  Dark  back- 
ground.    W.  R. 

Canvas.     H.  29!  in.     W.  23^  in. 

OO  PORTRAIT  OF  A  NOBLEMAN,  POSSIBLY  THE  MARQUIS 
020  OF  GRANBY.  Bust.  The  head  turned  towards  the  left.  Grey 
brown  hair.     Dressed  in  dark  green  with  gold  buttons.     Dark  background. 

Canvas.     H.  29!  in.     W.  24I  in. 

Formerly  called  a  portrait  of  Major  Clive. 

55 


ENGLISH    PAINTERS    XVIII    AND    XIX    CENTURIES 

0«  PORTRAIT  OF  SIR  WILLIAM  YONGE.  Bust.  Turned  to- 
y.)  ^i\Jj  warcjs  the  left  the  head  facing  the  spectator.  White  hair.  Dressed 
in  red  with  a  white  stock.  Green  background.  The  bottom  of  the  picture 
forms  the  half  of  an  oval.     W.  R. 

Canvas.     H.  29!  in.     W.  24!  in. 

On  the  back  of  the  picture  in  Mr.  Crocker's  handwriting:  "Right  Hon.  Sir 

Wm.  Yonge  Bart.     Sir  Joshua  Reynolds.     Bought  at  the  sale  of  the  widow 

of  his  son,  Sir  George.     It  has  never  been  out  of  his  and  her  possession. 

Restored,  cleaned  and  varnished  by  me.     T.  W.  Crocker." 

Sir  William  Yonge  was  the  first  Baronet  of  Delaford,  County  Bucks,  and 

Lieutenant  Governor  of  the  Island  of  Dominica.     He  was  born  in  1725  and 

died  at  St.  Vincent  in  1788. 

Exhibited  at  the  British  Institution  in  1850,  No.  106. 

Collection  of  John  Wilson  Crocker. 

Collection  of  Rev.  G.  S.  Burrow. 

O  PORTRAIT  OF   A   LADY.      Bust.     Facing   the   spectator,    the 

Oj)W  head  slightly  inclined  towards  the  left.  She  wears  a  white  satin 
gown  with  a  blue  vest,  beneath  which  a  low-cut  chemisette,  crossed  over  her 
breast,  is  visible.  Knot  of  bluish  grey  in  the  front  of  the  bodice.  Light  blue 
earrings.  Dark  ribbon  around  her  throat  and  a  knot  of  ribbons  in  her  hair. 
Dark  background.     W.  R. 

Canvas.     H.  2Q§  in.     W.  24J  in. 

Early  work. 

O  THE  INFANT  HERCULES  STRANGLING  THE  SERPENTS. 

(-)j)  A  The  boy  (Puck)  lies  naked  in  his  cradle,  strangling  a  snake  in  each 
fist,  to  the  horror  and  astonishment  of  the  beholders.  His  frightened  mother, 
followed  by  a  maid,  bends  over  him  uttering  cries  of  distress.  A  couple  of 
women  are  falling  back  in  horror  on  the  right  and  left.  The  King,  attended 
by  armed  soldiers  bearing  torches,  looks  calmly  in  on  the  left.  Juno,  with 
her  two  peacocks,  looks  down  from  the  clouds.  The  walls  of  a  temple  in  the 
left  background.     Grey  and  brown  tones.     W.  R. 

Panel.     H.  23^  in.     W.  23I  in. 

Study  for  the  large  picture  in  the  Hermitage  at  St.  Petersburg  which  Sir 
Joshua  executed  in  1 787  for  Catherine  of  Russia.  "  Probably  the  first  sketch, 
introducing  in  the  centre  of  the  picture  Reynolds'  own  portrait  looking  up  at 

56 


ENGLISH    PAINTERS    XVIII    AND    XIX   CENTURIES 

the  affrighted  centurions;  the  picture  of  his  niece  Miss  Palmer  is  also  readily 
recognized,  while  the  Puck  is  similar  to  other  versions  of  the  same  character." 
W.  R. 


THOMAS  GAINSBOROUGH 

Born  at  Sudbury  in  Suffolk  in  1727.  Died  in  London  in  1788.  Pupil  of 
Francis  Hayman  and  influenced  by  the  French  engraver  Gravelot.  Settled 
in  London  in  1774.  One  of  the  original  members  of  the  R.  A.,  where  he 
exhibited  from  1769  to  1783.     Landscape,  portrait,  and  genre  painter. 

Q  PORTRAIT  OF  A  MAN.     Half  length.     Facing  the  spectator,  the 

O  j)  2,  head  drooping  a  little  towards  the  left.  He  holds  a  stick  in  the 
air  with  both  hands.  Dressed  in  dark  green  with  red  facings  on  the  sleeves 
and  shoulders.     White  stock  and  white  cuffs. 

Canvas.     H.  29!  in.     W.  24I  in. 

"Portrait  of  the  man  who  sat  for  the  'Parish  Clerk'  in  the  National  Gallery." 
W.  R. 

8  PORTRAIT  OF  GEORGE  COYTE,  known  as,   "Coyte  alive." 

J7J)  Bust.  Against  oval  background.  Turned  slightly  towards  the  left. 
Clean  shaven  face  and  grey  wig.  Yellowish-brown  jacket,  blue-black  waist- 
coat and  white  stock.     Brown  background.     W.  R. 

Canvas.     H.  29!  in.     W.  24!  in. 

Painted  in  1780  (?) 

Described  by  W.  Armstrong,  Gainsborough,  1898,  p.  193,  and  reproduced  p. 

1 16. 

Exhibited  at  the  Royal  Academy  in  1888. 

O  LANDSCAPE    WITH    WINDMILL.     A  windmill  stands  on    a 

C' J)  ^-j-  hilly  ground  on  the  left,  and  a  Gothic  church  among  trees  somewhat 
lower  on  the  right.  A  peasant  with  a  white  and  red-brown  horse  is  ploughing 
the  slope  in  front  of  the  church.  A  road  leads  between  the  hills  towards  a 
second  church  in  the  distance.  Two  donkeys  grazing  near  a  little  pond  in 
the  right  foreground.     Light  blue  sky  with  thick  gathering  clouds. 

Canvas.     H.  29^  in.     W.  29!  in. 

Early  work  which  has  been  engraved.     W.  R. 

57 


ENGLISH    PAINTERS    XVIII    AND    XIX   CENTURIES 

8_  _  PASTORAL  SCENE.  A  sunlit  road  bordered  by  trees  on  either 
J?  J  side  winds  towards  the  left  background.  On  it  five  cows  turned 
mostly  towards  the  right,  the  sunlight  falling  on  them  in  patches.  The  castle 
tower  appears  above  the  tree  tops  in  the  background.  Clouds  are  gathering 
above  the  trees  in  the  light  blue  sky.     W.  R. 

Canvas.     H.  i6£ in.     W.  2ix  in. 


JOHN   OPIE 

Born  at  St.  Agnes  near  Tour  in  1761.  Died  at  London  in  1807.  Son  of  a 
master  carpenter.  In  1806  member  of  the  Royal  Academy.  Painter  of 
portraits,  and  historical  pictures. 

O  r  STUDY  OF  THE  HEAD  OF  A  MAN.  Only  the  head  and  left 
OjjvJ  shoulder  visible.  Turned  towards  the  left.  The  head  facing  the 
spectator.  The  face  is  shadowed  by  a  felt  hat.  Dark  costume  and  back- 
ground.    Pale  complexion.     W.  R. 

Papier  mache.     H.  16  in.     W.  I2§  in. 

Formerly  attributed  to  Gainsborough.  The  right  attribution  made  by  W. 
Roberts. 


GEORGE  ROMNEY 

Born  at  Dalton-in-Furness,  Lancashire,  in  1734.  Died  at  Kendal  in  1802. 
Pupil  of  Christopher  Steele.  In  1762  he  went  to  London.  In  1764  he  trav- 
elled to  France.     In  1773  in  Italy.     From  1763-1772  he  exhibited  at  London. 


8 


_  ,_  LADY  HAMILTON.  Bust.  She  rests  her  elbows  on  a  balustrade, 
J)  J  the  forearms  touching,  and  points  upwards  with  the  index  finger 
of  her  left  hand.  Her  head  rests  on  her  right  shoulder,  and  she  looks  up 
smiling  roguishly.  A  white  ribbon  is  knotted  in  her  dark  hair.  Dark  back- 
ground.    Sketch.  W.  R. 

Canvas.     H.  2i|  in.     W.  17!  in. 

The  first  sketch  for  the  picture  in  the  National  Portrait  Gallery,  described  in 
Ward  and  Roberts,  Romney,  p.  188. 

58 


ENGLISH    PAINTERS    XVIII    AND    XIX   CENTURIES 

Q  O  PORTRAIT  OF  MR.  RICHARD  THOMPSON  OF  GLOUCES- 
O  j)  O  TER.  Bust  of  a  young  man  about  25.  The  head  turned  slightly 
towards  the  left.  Dark  green  coat  with  gold  buttons  and  a  white  stock. 
Powdered  hair.     Dark  background.     W.  R. 

Canvas.     H.  23!  in.     W.  19!  in. 

8  PORTRAIT  OF  AN  OLD  MAN.     Half  length.     Turned  in  pro- 

J)  M  file  towards  the  right,  with  folded  hands.  Dressed  in  brown  with  a 
brown  cap.  Sharply  curved  nose  and  short,  white  beard.  Greyish-black 
background. 

Canvas.     H.  29!  in.     W.  24!  in. 

II.    ENGLISH    PAINTERS,  XIX   CENTURY 

C.     1 790- 1 830 

HENRY    RAEBURN 

Born  at  Stockbridge  in  1756.  Died  at  Edinburgh  in  1823.  Pupil  of  David 
Martin.  His  earliest  dated  picture  is  from  1776.  1785  he  went  to  London 
and  returned  to  Edinburgh  in  1787.  From  1792  he  exhibited  at  the  Royal 
Academy.     The  most  famous  Scottish  painter  of  portraits. 

Q  BOY  WITH  A  MASK.     Three-quarter  length,  of  a  boy  about  7 

OZj-vJ  or  8.  Turned  towards  the  left.  Looking  smilingly  at  the  specta- 
tor with  slightly  bent  head.  He  holds  in  both  hands  a  mask  of  a  man  with  a 
long  red  nose  and  black  beard,  which  is  seen  in  profile.  Dressed  in  a  brown 
cap,  a  dark  brown  jacket  with  a  blue-grey  tie,  and  greyish-white  trousers. 
A  warm  red  drapery  over  his  left  arm.     Brown  background.     W.  R. 

Canvas.     H.  29!  in.     W.  24!  in. 

ENGLISH   ARTIST 

ABOUT  I79O 

8.   .     PORTRAIT  OF  A  LADY.     Three-quarter  length.     She  is  seated 
4  *■    on  the  right,  turned  towards  the  left  and  looking  at  the  spectator, 
wearing  a  white,  low-cut  dress  with  short  sleeves  and  holding  a  bunch  of 

59 


ENGLISH    PAINTERS    XVIII    AND   XIX   CENTURIES 

flowers  in  her  left  hand.  Her  hair  is  curled  and  she  wears  a  string  of  corals 
around  her  throat.  A  background  of  park  on  the  left,  with  a  dark  sky  red- 
dened on  the  horizon.     W.  R. 

Canvas.     H.  29!  in.     W.  24!  in. 

Formerly  attributed  to  Raeburn. 


JOHN   HOPPNER 

Born  in  London  in  1758.  Died  there  in  1810.  In  1793  student  in  the  Royal 
Academy  and  member  in  1795.  He  contributed  166  works  to  its  exhibitions. 
Through  the  patronage  of  the  Prince  of  Wales  he  became  a  fashionable 
painter. 


84 


PORTRAIT  OF  A  YOUNG  MAN.  Three-quarter  length,  turned 
■^  towards  the  right.  Seated  beside  a  table  on  which  his  left  hand 
rests,  his  gloved  right  hand  lies  across  his  knees.  White  wig,  olive-green 
coat,  white  waistcoat  and  stock.  Grey  trousers.  Two  books,  and  an  ink- 
stand with  two  quill  pens,  on  the  right  hand  side  of  the  table.  Light  brown 
background.     W.  R. 

Canvas.     H.  365  in.     W.  375  in. 

O  PORTRAIT  OF  MISS  MORRIS.     Half  length  figure  of  a  woman 

^^J-J)  about  21.  Turned  slightly  towards  the  right,  the  face  turned 
towards  the  spectator.  A  knot  of  light  blue  in  her  flowing  hair.  White  gown, 
a  little  open  at  the  throat  and  blue  girdle.     Dark  background.     W.  R. 

Canvas.     Oval.     H.  27!  in.     W.  22!  in. 


GEORGE    MORLAND 

Born  at  London  in  1763.  Died  there  in  1804.  Pupil  of  Philip  Dawe.  Ex- 
hibited at  the  R.  A.  in  his  fifteenth  year.  Painter  of  society,  juvenile,  and 
rural  subjects. 

Q     .     .    THE  CARTER.     A  wagon,  loaded  with  tiles  and  drawn  by  two 
ii"   norses>  the  foremost  white,  approaches  from  the  right.     A  team- 
ster,  in   yellow   breeches  and  a  light    brown   smock,   urges   them  onward. 

60 


ENGLISH    PAINTERS    XVIII    AND    XIX    CENTURIES 

Only  a  small  piece  of  the  cart  is  visible.     Farther  back  on  the  right  a  couple 
of  houses  roofed  with  red  tiles,  and  a  smoking  tile  kiln  in  the  background. 
Thick,  white  clouds  massing  in  the  sky  behind  the  houses.     W.  R. 
Signed  on  part  of  Cart.     "G.  Morland  Fecit." 

Canvas.     H.  15!  in.     W.  2o|  in. 

Q  .  _  THE  LANE.  A  road  with  clay  banks  and  trees  on  either  side 
O  *\  j  crosses  the  canvas  diagonally.  On  the  right  a  blue  clad  teamster 
appears  driving  two  horses  harnessed  tandem.  The  wagon  drawn  by  the 
horses  is  not  visible.  A  wayfarer  in  the  foreground.  Lightly  clouded  sky. 
W.  R. 

Canvas.     H.  9  in.     W.  \2\  in. 

Q  .  f  TWO  TERRIERS.  Two  black  and  white  dogs  are  lying  beside 
OZlvJ  a  lake.  The  right  hand  dog  turned  in  profile  towards  the  left,  the 
other  on  the  left  turned  towards  his  companion.  High,  rocky  shore  behind 
them  on  the  right.  Dark  shadows  in  front  of  the  lake  in  the  left  foreground. 
Grey  sky,  with  white  clouds. 

Canvas.     H.  17!  in.     W.  23!  in. 

Formerly  attributed  to  Gainsborough.  The  right  attribution  due  to  W. 
Roberts.  One  of  the  dogs  resembles  "the  Fisherman's  dog"  by  Morland 
engraved  by  F.  W.  Reynolds,  the  other  resembles  the  dog  in  the  "Weary 
Sportsman"  engraved  by  W.  Bond. 


SAMUEL  WILLIAM  REYNOLDS 

Born  at  London  in  1773.  Died  at  Bayswater  in  1835.  His  father  was  from 
West  India.  He  was  a  pupil  of  Ch.  H.  Hodges.  From  1797  he  exhibited  at 
the  R.  A.,  and  in  1810  and  1812  in  the  Salon  at  Paris.  He  made  mez- 
zotints and  painted  landscapes. 

Q  Ar-i  THE  FISHERMAN.  A  canal  extends  from  the  front  left  hand 
^  *\  j  corner  of  the  canvas  towards  the  right  distance.  Old  trees  with 
brownish-green  and  red-brown  foliage  on  the  farther  bank,  one  withered  white 
trunk  standing  out  sharply.  Farther  back  a  cottage.  Two  men,  one  of 
them  dressed  in  red  in  a  large  flat  boat  in  the  left  foreground.     Several 

61 


ENGLISH    PAINTERS    XVIII    AND    XIX    CENTURIES 

rafts  near  by.  A  fisherman  in  a  violet  jacket  and  light  blue  hose  in  the  right 
foreground.  Thick  grey-black  clouds  massing  in  the  sky,  almost  completely 
blotting  out  the  blue. 

Canvas.     H.  i8|  in.     W.  23  in. 


JOSEPH  MALLORD  WILLIAM  TURNER 

Born  in  1775  in  Maiden  Lane,  Covent  Garden.  Died  at  Chelsea  in  185 1. 
Student  at  the  R.  A  in  1789;  in  1802  member  of  the  R.  A.  He  visited  Italy 
in  1819,  1829,  and  about  1840.  He  exhibited  257  drawings  and  pictures  at 
the  R.  A.  and  left  all  his  works  to  the  nation.  Painter  of  landscape  and 
historical  subjects. 


OO  BENNEVILLE  (SAVOY).  A  chain  of  mountains  extends  into 
O  Zl  (J  the  left  distance,  the  foremost  crests  on  the  right  lying  in  the  shadow 
surrounded  by  white  clouds.  Snow-capped  peaks  in  the  left  background. 
In  the  left  middle  distance  the  village  and  castle  from  which  a  bridge  leads 
over  the  lake  towards  the  right.  Wooded  country  on  either  side  of  the  bridge. 
The  lake  forms  an  inlet  on  the  left,  its  steep-yellow-brownish  bank  occupying 
the  foreground,  where  a  shepherd  and  shepherdess  lie  extended  with  their 
flocks  behind  them.     Some  ducks  on  the  edge  of  the  lake.     W.  R. 

Canvas.     H.  35I  in.     W.  47!  in. 

Early  work. 

O  WINCHESTER  CRESS.      View  in  a  courtyard  with  a   barn   to 

\  )  the  left  and  a  brick  house  with  a  stable  at  the  right.  In  the  centre, 
at  the  end  of  the  court,  a  Gothic  portal  and  fountain  with  high  tabernacle  over 
it.  Over  the  wall,  behind  it,  a  small  house  with  gable  and  a  square  tower  is 
visible;  above  it  a  bit  of  sky  with  white  clouds.  In  the  foreground  a  soldier 
in  red  coat  and  high  fur  cap  is  bidding  goodbye  to  a  girl  whom  he  embraces. 
Another  soldier  beside  them  sits  on  a  drum  and  converses  with  a  girl  in  a  light 
blue  and  yellow  dress  who  carries  two  water  pails.  Three  boys  to  the  left; 
two  of  them  seated  on  a  little  car  watching  the  group.  Behind  the  soldiers  a 
man  mounted  on  a  horse  is  looking  back.  To  the  right  a  woman  in  light  blue 
petticoat  sits  on  a  chair  nursing  a  child.     A  boy  leans  over  the  chair  from 

62 


ENGLISH    PAINTERS    XVIII    AND    XIX   CENTURIES 

behind.     A  ladder  is  leaning  against  the  house  to  the  right,  and  a  man  is 
climbing  up.     Another  man  with  an  old  cap  looks  out  of  a  window.     W.  R. 

Canvas.     H.  39  in.     W.  49  in. 

Painted  about  1799.     Reproduced  in  the  Burlington  Magazine. 


85 


ROCKY  GLEN  (WELSH  SCENE).  In  the  foreground  a  pond 
^  surrounded  by  rocks  with  thickly  wooded  heights  behind  it.  A  fir 
tree  in  the  centre  and  a  couple  of  pines  on  the  left.  On  the  upper  right  hand  a 
road  leads  past  three  cypresses.  A  heron  stands  on  a  rock  in  the  right  fore- 
ground.    A  little  piece  of  white  clouded  sky  is  visible.     W.  R. 

Panel.     H.  I2f  in.     W.  i6f  in. 

Early  work. 


JOHN  CONSTABLE 

Born  at  East  Bergholt  in  Suffolk,  1776.  Died  at  London,  1837.  Student  at 
the  Royal  Academy,  1796.  Received  some  instruction  in  landscape  painting 
by  R.  R.  Reingle,  R.  A.,  and  was  much  encouraged  by  Sir  George  Beaumont. 
He  married  in  1816,  and  from  1820  resided  at  Hampstead.  1829,  member  of 
the  R.  A.;  he  exhibited  104  works  there  altogether.  Painter  of  landscapes, 
portraits  and  a  few  biblical  subjects. 

O  GAND1SH    COTTAGE,    EAST    BERGHOLT,    SUFFOLK,    IN 

{-)  J  1  WINTER.  The  little  snow  covered  country  house,  with  yellow 
patches  and  a  red  chimney,  stands  behind  a  frozen  pond  on  the  right,  with 
two  tall  trees  behind  it.  Farther  back  on  the  left  two  tree-shaded  cottages. 
A  road  extends  from  the  left  foreground  into  the  distance.     Grey,  cloudy  sky. 

Canvas.     H.  13!  in.     W.  i6|  in. 

About  1806. 

The  following  inscription  on  the  back  of  the  canvas:  "Gandish  Cottage, 
East  Bergholt,  Suffolk,  the  residence  of  the  artist's  sister  who  lived  and  died 
there.  Painted  for  her  by  her  brother.  Purchased  of  Mrs.  Newman  Webb, 
the  niece  of  the  artist  at  the  cottage,  27  February  1876,  where  the  picture  has 
always  hung." 


85 


THE  COTTAGE  ON  THE  STOUR  AT  FLATFORD.     A  road 
-^   winds  from  the  left  towards  a  foot  bridge  in  the  middle  distance. 
A  reddish  house  with  a  high  roof  stands  on  the  left  side  of  the  bridge,  with 

63 


ENGLISH    PAINTERS    XVIII    AND    XIX    CENTURIES 

several  scattered  trees  near  by.  A  group  of  tall  trees  in  the  right  foreground. 
Pale  blue  sky  with  light  clouds.     Spring  effect.     W.  R. 

Canvas.     H.  9!  in.     W.  1 5 J  in. 

Early  work. 

O  ^  VIEW  FROM  HIGHGATE.  Rolling  meadow  land  with  groups 
^  J  J/  of  trees.  Grey-green  tones  prevailing.  High  blue  sky  overcast  with 
clouds.     W.  R. 

Paper.     H.  7!  in.     W.  9  in. 

O  ^  BRIDGE  ON  THE  MOLE  On  the  left  a  reddish  stone  bridge, 
^  J  t\  from  which  a  sunlit  path  with  a  railing  leads  towards  the  right. 
On  the  left,  behind  the  bridge,  a  group  of  trees  with  dark  foliage.  On  the 
right  a  single  tree  with  lighter  foliage.  Yellowish-green  turf  in  the  foreground. 
Blue  sky  with  greyish-white  and  reddish  clouds.     W.  R. 

Panel.     H.  9!  in.     W.  1  if  in. 

About  1810. 


Q  rr  rr  WOODLAND  SCENE.  A  meadow  in  the  foreground  with  wooded 
^))  heights  extending  into  the  distance  behind  it .  A  yellow  road,  on 
which  a  wagon  loaded  with  hay  is  advancing  towards  the  wood,  leads  from 
the  right  towards  the  centre  of  the  picture.  A  castle  standing  on  a  wooded 
height  in  the  distance  appears  among  the  trees.  Light  blue  sky  with  occasional 
lines  of  white  cloud. 

Panel.     H.  io|  in.     W.  16  in. 

About  1810. 

Q  ~  f   SUNSET.     Hilly  landscape.     On   the   right  a   tree-shaded    pond 
C*  j  yJ   and  a  meadow  in  which  a  cow  is  grazing.     A  couple  of  houses 
standing  among  trees  in  the  middle  distance.     The  sun  is  setting  amidst  clouds 
behind  some  dark  woods  on  the  left.     Red  glow  in  the  sky. 
Signed  in  the  upper  right  hand:  30  Sept.     .     .     .     (the  rest  unintelligible). 

1810     .     .     . 

Canvas.     Mounted  on  wood.     H.  6  in.     W.  9!  in. 
John  Wilson  Collection. 

64 


ENGLISH    PAINTERS    XVIII    AND   XIX   CENTURIES 

8       n   AFTERNOON   ON  THE    RIVER.     The    river   flows   from    the 
j  I    foreground  towards  the  left  distance,  with  a  group  of  trees  on  the 
farther  bank.     Behind  them  the  sun  sends  reddish  and  golden  beams  over  the 
misty  sky.     The  line  of  pale  red  on  the  horizon  is  reflected  in  the  water. 
In  the  upper  right  hand:  Sepr.  1810. 

Canvas.     H.  io|  in.     W.  io|  in. 

OO  THE  SPAN  I ARDS,  HAMPSTEAD.  A  sandy  road  winds  through 
U^)0  the  centre  of  the  canvas  towards  the  distance  over  slightly  rising 
ground.  Loamy  ground  borders  the  road  on  either  side  with  light  green  turf 
behind  it.  A  couple  of  men  and  some  cows  are  outlined  against  the  horizon 
on  the  right.  Tree  shaded  houses  in  the  left  middle  distance,  and  a  wagon 
ascending  the  road  in  the  background.  Thick  grey  and  white  clouds  in  the 
sky.     In  light  yellowish  and  grey-brown  tones.     Summer  scene. 

Papier  mache  on  canvas.     H.  1 1 J  in.     W.  18!  in. 

About  1810.  "A  singularly  fine  example  of  Constable's  Hampstead  Heath 
pictures."     W.  R. 

O  ~  HILLY  COUNTRY.  A  hill  with  two  tall  trees  in  the  foreground. 
sj  The  richly  wooded  country  slopes  down  on  the  right  to  dimly  lit 
meadows.  A  chain  of  hills  of  uniform  height  cuts  off  the  horizon  in  the 
middle  distance.  The  landscape  in  tones  of  green  and  grey.  Pale  blue 
sky  with  grey  clouds. 

Papier  mache  on  wood.     H.  6  in.  W.  9I  in. 

About  181 1. 

Of^  NEAR  BERGHOLT  COMMON,  RAIN  COMING  UP.  A 
OUW  road  winds  through  the  flat  countryside  from  the  left  foreground 
towards  the  distance.  Dark  grey  clouds  have  gathered  thickly  in  the  sky, 
the  moon's  rays  breaking  through  them  overhead  on  the  right  and  shining  on 
the  meadow  beneath.  Three  trees  on  the  meadow  are  bending  before  the 
wind.  A  peasant  and  his  dog  standing  beside  a  heap  of  eajth  in  a  field  on 
the  left.     W.  R. 

Canvas.     H.     9  in.     W.  1 1 J  in. 

Transition  from  the  early  to  the  middle  period. 
Formerly  owned  by  Hugh  Constable,  grandson  of  the  artist. 

65 


ENGLISH    PAINTERS    XVIII    AND    XIX   CENTURIES 

Q/'  .  MARINE.  Rough,  grey-green  sea,  with  a  large  boat  with  yellow 
O  \J  1  sails  and  a  red  pennant  on  the  left.  Farther  back  on  the  right,  a 
second  boat  with  reefed  sails.  Grey  sky  with  a  patch  of  blue  and  a  rosy  cloud 
on  the  left. 

Papier  mache.     H.  6  in.     W.  ~\  in. 

About  iS 1 5 . 


86 


-  VILLA  ON  THE  HEIGHTS.  A  road  curves  from  the  foreground 
■**  towards  the  right  around  a  rocky  height  on  which  a  red  roofed  villa 
stands  among  trees,  one  of  them  a  poplar.  A  couple  of  cows  are  grazing  on  the 
sloping  meadow  on  the  left.  In  the  centre  of  the  canvas  a  view  of  distant 
sunlit  meadows  and  low  blue  hills.  Thickly  clouded  sky  throwing  strong 
shadows  on  the  ground,  with  one  patch  of  blue  breaking  through. 

Canvas.  H.  nfin.     W.  15!  in. 

Of  the  artist's  middle  period. 

Q  /  —  THE  WEIR.  A  brook  crossed  by  a  weir  flows  towards  the  fore- 
^^J  ground  with  a  path  beside  its  bank.  Two  tall  poplar  trees  on  the 
farther  side.  Three  shaded  houses  in  the  middle  distance  on  the  left.  Heavily 
clouded  sky.     W.  R. 

Canvas.     H.  6  in.     W.  io|  in. 

Of  the  artist's  middle  period. 

Q/  H  AM  PSTEAD  HEATH.     The  road  extends  from  the  right  towards 

O  w  Zj.  a  wood  in  the  left  background.  A  red  dressed  figure  on  the  slope 
on  the  right.     The  greater  part  of  the  picture  depicts  the  heavily  clouded  sky. 

Panel.     H.  9!  in.     W.  1 1  in. 

Sir  Frederick  Leighton's  Collection. 

Q  /  WEYMOUTH  BAY.     The  yellow-brown  coast  curves  from  right 

OU  j  to  left  in  the  foreground,  gradually  decreasing  in  height.  On  the 
left  the  quiet  sea  breaks  gently  against  the  shore.  Two  boats,  one  with  a 
sail,  are  nearing  the  beach.  One  half  of  the  canvas  is  given  over  to  the  sky, 
its  blue  almost  obscured  by  gathering  greyish-black  and  white  clouds.     W.  R. 

Canvas.     H.  2o|  in.     W.  295  in. 

About  1819-20. 

66 


ENGLISH    PAINTERS    XVIII    AND   XIX   CENTURIES 

8f  f  VIEW  ON  RIVER  STOUR.  Three  boats  with  passengers  on 
V  {j  the  river  in  the  foreground,  the  left  hand  boat  with  red-brown  sails. 
Across  the  river  a  group  of  trees.  In  the  right  foreground  bushes  to  which 
a  boat  has  been  made  fast.  Across  the  river,  behind  a  meadow,  a  Gothic 
church  tower  appears  among  the  trees.  Two  poplars  on  the  right.  Cloudy, 
grey  sky.     Uniform  yellowish  and  grey-green  tones.     W.   R. 

Panel.     H.  i  if  in.     W.  15I  in. 

Of  n  THE  BEACH  NEAR  YARMOUTH.  Rocky  coast  on  the  left 
OO  J  with  headlands  jutting  out  into  the  ocean.  Yellow  sands  in  the 
foreground,  and  on  the  right  the  light  blue  sea  with  a  couple  of  sailboats. 
Pale  blue  sky  with  white  and  grey  gathering  clouds. 

Canvas.     H.  13!  in.     W.  17!  in. 

About  1822.     "Beautiful  little  sketch".     W.  R. 

Formerly  owned  by  Captain  Constable,  the  son  of  the  artist. 

O/'O  RISING  MOON.  A  building  on  the  left.  Thick  trees  on  the  right. 
OUO  In  the  centre  a  vista  with  the  rising  moon  partly  hidden  by  two 
slender  trees.     Sketch.     Brown  tones  predominating.     W.  R. 

Papier  mache.     H.     4!  in.     W.  7  in. 

0/.A  CHAIN  PIER,  BRIGHTON.  The  beach  curves  forward  from 
KJ\J\Jf  right  to  left,  and  farther  back  again  towards  the  right.  Several 
boats  on  the  beach  in  the  left  foreground  with  houses  behind  them.  In  the 
middle  distance  a  chain  pier  juts  out  into  the  sea.  A  little  sailboat  is  making 
for  shore  on  the  right.  Several  figures  on  the  beach.  Among  them  two 
girls  in  brightly  coloured  blouses,  with  their  backs  towards  the  spectators; 
a  man  and  woman  looking  out  to  sea  and  a  man  asleep  in  the  sand.  A 
dash  of  red  in  the  costumes,  contrasting  with  the  blue  of  the  sea.  Shimmering 
white  light  on  the  beach.     Cloudy  sky  with  glimpses  of  blue.     W.  R. 

Canvas.      H.  1 2 J  in.     W.  23!  in. 

About   1824. 

Collection  of  Miss  Constable. 

Old  English  Art  Exhibition  in  French  Gallery,  1893. 

O  — „  BRIGHTON  PIER.  To  the  left  the  sea  with  rocks  in  the  fore- 
O  J  ^  ground.  To  the  right  the  beach  with  high  slope,  on  the  top  of  it  the 
houses  of  the  city.     The  pier  is  extending  in  the  middle  distance  to  the  left. 

67 


ENGLISH    PAINTERS    XVIII    AND    XIX    CENTURIES 

In  the  foreground  a  couple  walking  along  the  water.     The  beach  is  a  light 
pink  tone,  the  sky  light  blue. 

Water  colour  on  paper.     Paper.     H.  7  in.     W.  4§  in. 

"  Exquisitely  finished."     W.  R. 


87 


.  A  DELL  SCENE,  HELMINGHAM  PARK.  A  rustic  bridge 
*  crosses  a  small  stream  on  the  banks  of  which  are  tall  arching  oak 
trees  covering  the  whole  picture.  The  sky,  with  white  clouds,  is  seen  through 
the  trees  at  the  right  and  left.  A  crane  stands  in  the  water  at  the  lower  left 
hand  corner  of  the  picture. 

Canvas.     H.  28  in.     W.  36  in. 

Sale,  Christies  1883,  bought  by  Mr.  Fielden. 

0__  PORTRA1TOFAGIRLSA1DTOBETHE  ARTIST'S  DAUGH- 
O  j  .Z  TER.  Half  length.  The  hands  not  visible.  Turned  towards 
the  right,  the  head  facing  the  spectator  and  slightly  bent.  A  child  of  about 
ten  with  blue  eyes,  rosy  cheeks,  and  curly  brown  hair.  Cream  coloured 
dress.     Blue-grey  background.     Sketch.  W.  R. 

Papier  mache  on  wood.     H.  8|  in.     W.  7  in. 

On-y  PORTRAIT  OF  MASTER  CROSBY.  Three-quarter  length. 
C^  J  _j  Standing  before  a  dark  landscape  background  with  a  glimpse  of 
evening  sky  between  the  trees.  About  eight  years  old.  His  left  hand  rests 
on  a  rock,  his  right  on  his  thigh.  The  head  turned  slightly  towards  the  right. 
Outstanding  collar.  Dark  brown  jacket  and  yellowish  trousers. 
Signed  on  the  lower  right  hand:  J.  Constable.  1808. 

Canvas.     H.  29!  in.     W.  24!  in. 

One  of  the  few  pictures  signed  by  the  artist.     The  boy  is  probably  "the  son 
of  the  eminent  London  merchant,  Lord  Mayor  Crosby."      W.  R. 


WILLIAM    WATTS 

Born  at  London  in  1752.  Died  at  Colham  in  185 1.  Editor  of  the  Copper- 
plate Magazine.  In  1779-86  he  published  "Views  of  the  seats  of  the  English 
Nobility  and  Gentry."  In  1786  he  went  to  Italy.  Then  he  lived  in  London, 
Bath,  Paris, "and  Colham.     Landscape  engraver  and  painter. 

68 


ENGLISH    PAINTERS    XVIII    AND   XIX   CENTURIES 

0>-j  A  SUFFOLK  LANDSCAPE.  A  road  leading  over  two  bridges  runs 
O  I  ^\  diagonally  across  the  canvas.  The  bridge  on  the  right  has  three 
arches.  The  bridge  in  the  centre,  with  but  one  arch,  leads  over  a  brook  which 
flows  in  a  curve  towards  the  left  fore  corner.  A  tall  tree  stands  in  front  of  the 
bridge  on  the  left,  others  singly  and  in  groups  on  the  farther  side  of  the  road. 
A  cottage  on  the  right  behind  the  second  bridge  and  farther  towards  the 
right,  in  a  hollow,  a  village  with  a  tree-shaded  church.  Several  cows  on  the 
right.  A  woman  in  a  red  blouse  is  washing  beside  the  brook.  Two  sheep  on 
the  loamy  ground  on  the  left.  Clear  atmosphere  and  blue  sky  with  white 
clouds.     Greenish-brown   tones   predominate. 

Canvas.     H.  34  in.     W.  44  in. 

About    1802-04. 

The  same  bridge  reappears  in  a  painting  in  the  Hearn  Collection,  Metro- 
politan Museum,  New  York,  attributed  to  Constable. 
Formerly  attributed  to  Constable.     The  right  name  given  by  W.  Roberts. 

Q  i—  —  THE  LOCK.  A  stream,  dammed  by  the  lock,  flows  towards  the 
I  y  "ght  foreground,  bordered  on  either  side  by  grass  and  bushes.  A 
red  capped  peasant  with  two  horses  on  the  lock  bridge,  behind  which  a  sail 
boat  is  visible.  Groups  of  trees  on  either  side  of  the  stream.  A  boat  lies 
on  the  right  bank,  and  farther  back  a  couple  of  houses  appear  among  the 
trees.     Hills  in  the  background. 

Canvas.     H.  22  in.     W.  30^  in. 

Formerly  attributed  to  Constable.     The  right  attribution  due  to  W.  Roberts. 


JOHN  CROME,  called  OLD  CROME 

Born  1769  at  Norwich.  Died  there  in  182 1.  Brought  up  as  coach  painter, 
then  he  became  drawing  master.  In  1803  he  and  others  founded  the  Norwich 
Society  of  Artists,  of  which  he  became  president  in  1810.  He  exhibited  there 
and  in  the  R.  A.     Painter  of  landscapes  and  sometimes  of  genre  scenes. 

Qrif.  VIEW  0N  MOUSEHOLD  HEATH,  NEAR  NORWICH.  On 
C)  y  W  the  left  rising  ground  wooded  with  oak  which  slopes  down  towards 
the  right  to  a  sunlit  valley  with  hillocks  and  ploughed  fields.     A  sheep  and  a 

69 


ENGLISH    PAINTERS    XVIII   AND   XIX   CENTURIES 

ram  among  the  bushes  in  the  foreground.     The  cloudy  sky  is  reddened  by  the 
beams  of  the  setting  sun.     W.  R. 

Canvas.     H.  23  in.     W.  17^  in. 

Lord  Stafford's  Collection,  London. 

Old  English  Art  Exhibition  in  French  Gallery,  1893. 


JOHN   SELL   COTMAN  (?) 

Born  at  Norwich  in  1782.  Died  at  London  in  1842.  In  1800  he  came  to 
London  and  exhibited  at  the  R.  A.  untill  1806,  when  he  returned  to  Norwich. 
Painter  of  landscapes  and  marines. 

Q  ,_  ,_  VIEWONTHENARE.(?)  A  large  sailing  vessel  firing  off  a  cannon 
/  /  on  tne  "l^t.  0°  tne  left  near  the  shore,  a  second  boat  with  reefed 
mainsails.  A  third  boat  between  the  two,  farther  in  the  rear.  A  number  of 
rowboats  with  passengers  in  the  foreground.  A  house  on  the  shore  to  the 
right.     Calm  sea,  bathed  in  warm  afternoon  light.     In  prevailing  brown  tones. 

Canvas.     H.  29!  in.     W.  34  in. 


ENGLISH  ARTIST 

ABOUT   1820 

QnQ  OLD  HOUSE  WITH  PILLARS.  The  yellowish,  straw-thatched 
C^  J  O  house  has  a  front  structure  supported  by  pillars  and  a  pent  house 
on  the  other  side.  A  woman  in  a  red  dress,  holding  a  blue  clad  child  by  the 
hand,  stands  in  the  doorway.  Distant  view  of  hills  on  the  right.  A  signpost 
in  the  foreground  near  a  wooden  railing.     A  reddish  cloud  above  the  house. 

Panel.     H.  1  if  in.     W.  9I  in. 

Formerly  attributed  to  J .  S.  Cotman. 


GEORGE  VINCENT 

Born  at  Norwich  in  1796.     Died  after  1830  at  London.     He  learned  from  Old 
Crome,  and  began,  at  seventeen,  to  exhibit  at  the  Norwich  Society.     From 

70 


ENGLISH    PAINTERS    XVIII   AND   XIX   CENTURIES 

1814  to  1823  he  exhibited  at  the  R.  A.  Afterward  he  sank  into  poverty  and 
obscurity.  He  belongs,  with  Crome,  Cotman,  and  Stark,  to  the  Norwich 
School  of  Landscapists. 

Oryn  COTTAGE  BY  THE  ROADSIDE.  The  path,  with  trees  on 
J  y  either  side,  leads  from  the  left  foreground  into  the  distance.  A 
cottage  in  the  right  foreground.  In  front  of  it,  on  the  path,  a  woman  with  a 
child  in  her  arms  is  talking  to  a  countryman.  Two  other  figures  farther  back 
on  the  road.  A  tower  among  the  trees  on  the  right.  Blue  sky  with  light 
clouds.  W.  R. 
Signed  on  the  lower  right  hand:  G  V  (intertwined)  1831.. 

Panel.     H.  8|  in.     W.  \i\  in. 


PETER  NASMYTH 

Born  at  Edinburgh  in  1787.  Died  at  Lambeth  in  1831.  In  1807  he  went  to 
London  and  in  1809  he  first  exhibited  at  the  R.  A.  In  1824  he  became  one  of 
the  original  members  of  the  Society  of  British  Artists.  Painter  of  English 
and  Scottish  landscapes.  Influenced  by  the  Dutch  artists,  especially  by 
M.  Hobbema. 

SO  VIEW  OF  LAMBETH.  The  outskirts  of  tall  oak  woods  in  the  left 
C)W  foreground.  A  brook  flows  towards  the  right  foreground,  forming 
a  little  waterfall  spanned  by  a  footbridge.  A  shepherd  with  his  flock  advances 
along  the  path  which  traverses  the  canvas  diagonally  from  the  right,  leading 
over  the  footbridge  and  into  the  wood.  In  the  foreground,  on  a  second  path 
leading  alongside  the  brook,  a  man  mounted  on  a  white  horse,  leading  a  black 
horse  by  the  bridle.  A  village  with  two  churches  in  the  middle  distance  on  the 
right.  The  high,  cloudy  sky  shows  blue  overhead.  W.  R. 
Signed  on  the  lower  left  hand:  P.  N. 

Canvas.     H.  27  in.     W.  25  in. 


JAMES  BARKER  PYNE 

Born  in  Bristol,  England,  in  1800.  Went  to  London  in  1835,  and  exhibited 
at  the  Royal  Academy.  1842  member  of  the  Society  of  British  Artists. 
Visited  Italy  in  1846  and  185 1.     Died  in  1870. 

7> 


ENGLISH    PAINTERS   XVIII    AND   XIX   CENTURIES 

80  WINDSOR  CASTLE.  In  the  foreground  a  river  and  a  gallery 
^  1  with  stone  balustrade  leading  along  it  to  the  left.  Two  small 
boats,  with  figures  in  red  costumes,  to  the  right,  and  some  sailboats  in  the 
rear  at  the  left.  On  the  other  side  of  the  river  a  castle  with  a  large  tower 
among  trees  with  yellow-brown  leaves,  and  a  tower  of  a  Gothic  cathedral  to 
the  left.     W.   R. 

Canvas.     H.  8h  in.     W.  12  in. 


RICHARD  PARKES  BONINGTON 

Born  in  the  village  of  Arnold  near  Nottingham  in  1801 .  At  the  age  of  fifteen 
he  went  with  his  father  to  Paris,  where  he  copied  in  the  Louvre.  He  then 
became  a  student  of  the  Ecole  des  Beaux-Arts.  He  visited  and  exhibited  in 
the  R.  A.  at  London  in  1828  and  1829.  Painter  chiefly  of  marine  and  river 
views. 


OO  r\  LANDSCAPE  AND  BRIDGE.  A  river  on  the  right  spanned  by  a 
kjL)  .Z  bridge  ornamented  with  statues.  A  park  in  which  a  couple  of  roofs 
are  visible  lies  in  the  shadow  behind,  curving  around  towards  the  left  fore- 
ground where  it  opens  into  a  broad  avenue.  A  wagon,  drawn  by  three  horses 
harnessed  one  behind  the  other,  is  advancing  along  an  open  space  in  the  fore- 
ground towards  the  right,  near  a  shepherd  lad  with  his  flock.  Other  figures 
on  the  right  on  the  stone  balustrade  bordering  the  river  and  among  the  trees 
in  the  background.  Cloudy,  grey  sky  with  glimpses  of  blue  on  the  right 
through  which  the  sunlight  falls  in  patches  on  the  landscape.     W.  R. 

Canvas.     H.  13  in.     W.  18J  in. 

QQ-^  VIEW  OF  THE  BEACH.  A  man  wearing  a  red  cap,  and  a  woman 
f  O  j)  kneeling  beside  a  cart  drawn  by  two  horses  occupy  the  centre  of 
the  canvas.  A  girl  carrying  a  child  on  the  right.  Two  sails  are  visible 
behind  the  cart  and  a  dark  blue  strip  of  sea.     Light  blue  sky  with  white  clouds. 

Canvas.     H.  9!  in.     W.  14!  in. 

72 


ENGLISH    PAINTERS    XVIII    AND   XIX   CENTURIES 

D.     1830— 1870 

WILLIAM  ETTY 

Born  at  York  in  1787.  Pupil  of  Sir  Thomas  Lawrence  in  1808.  In  18 16 
and  1822  visited  France  and  Italy.  Especially  impressed  by  the  work  of  the 
Venetian  masters.  Made  an  Academician  in  1826.  Settled  in  York  in  1848, 
where  he  died  in  1849. 

8Q  .  THE  CORSAIR.  Partly  turned  from  the  spectator,  he  strides 
U  t\  into  the  water  which  reaches  his  ankles,  carrying  the  abducted 
girl  in  his  arms.  The  cap  on  his  dark  hair  and  the  sash  about  his  hips  are 
purple.  A  shimmering  greenish-yellow  garment  covers  the  girl's  hips 
disclosing  the  upper  part  of  her  body,  which  shows  white  against  the  brown 
skin  of  her  captor.  She  holds  both  hands  over  her  head,  shading  her  features 
with  their  fiery,  half-consenting  expression.  A  wood  in  the  background 
with  a  blue-green  shimmering  pond  on  the  left.     Light  blue  sky. 

Papier  mache.     H.  2%\  in.     W.  2 if  in. 

James  S.   Inglis  Collection.     Sold  at  auction  in  New  York,  March,    1909, 

No.  72. 

Possibly  inspired  by  Byron's  poem,  "The  Corsair." 


HENRY  DAWSON 

Born  in  Hull  in  181 1.  Died  at  Chiswick  in  1878.  Self-taught  artist,  later 
somewhat  under  the  influence  of  Turner.  Worked  first  in  Nottingham  in  the 
lace  trade,  then  he  went  to  Liverpool  and  in  1849  to  London.  Landscape 
painter. 

OQ^  LANDSCAPE.  Mountain  landscape  with  a  valley  on  the  left 
C^O  j  and  a  roaci  on  the  right  leading  towards  the  background.  Trees 
and  shrubs  near  a  wall  on  the  right.  A  shepherd  with  a  flock  of  sheep  goes 
down  the  road  into  the  distance.  A  couple  of  cottages,  with  smoking  chim- 
neys, in  the  valley  on  the  left.  High  mountains  cut  off  the  horizon.  Warm 
afternoon  light.     W.  R. 

Canvas.     H.  19!  in.     W.  29  in. 

73 


ENGLISH    PAINTERS    XVIII    AND   XIX   CENTURIES 

JAMES  HOLLAND 

Born  at  Burslem  in  1800.  Painted  flowers  on  pottery  in  his  boyhood.  Moved 
to  London  in  1819,  first  exhibiting  flower  pieces  at  the  R.  A.  in  1824.  After 
a  visit  to  Paris  in  1831,  he  devoted  himself  to  landscape  painting.  Visited 
Italy,  France,  Portugal,  and  Holland.  Was  also  a  watercolour  painter. 
Died  in  London  in  1870. 

8O  r  VENETIAN  SCENE.  A  canal  in  the  foreground  with  sailboats 
OW  on  the  left  and  a  gondola  on  the  right.  A  second  canal  with  a 
bridge  in  the  foreground  branches  off  into  the  distance,  the  sun  shining  down 
on  the  houses  along  its  banks,  while  those  in  the  foreground  and  the  bridge 
in  the  centre  lie  in  the  shadow.  A  renaissance  belfry  and  the  silver  dome  of  a 
church  in  the  centre  background.  Silvery,  blue  sky  with  reddish-grey  clouds. 
Some  red  costumed  figures  on  the  bridge  stand  out  sharply  against  the  pre- 
vailing tones  of  golden  brown.  W.  R. 
Signed  in  the  right  foreground:  James  Holland,  1848. 

Panel.     H.  19!  in.     W.  19!  in. 

80n  VIEW  OF  A  DUTCH  TOWN.  A  canal  with  several  boats  in 
C^  j  the  foreground.  Numerous  figures  in  the  boats  and  on  the  opposite 
shore,  mostly  dressed  in  red.  A  tall  brick  house  with  a  flight  of  steps  leading 
to  it  on  the  right.  Masts  from  a  farther  canal,  and  a  couple  of  high  gabled 
houses  and  a  square  church  tower  on  the  left.  Blue  sky.  An  admirable 
example.   W.  R. 

Papier  mache.     H.  13!  in.     W.  iof  in. 


74 


MODERN  PAINTINGS 

ARTIST'S  NAMES  ARRANGED  ALPHABETICALLY 
IRRESPECTIVE  OF  NATIONALITY 


888 


MODERN   PAINTINGS 


IVAN    KONSTANTINOVITSCH    AIVASOVSKY 
1817-1900 

ROCKY  SEA-SHORE.  Cliffs  of  dark  slaty  coloured  rock,  whose 
tops  are  veiled  in  mist,  slope  down  precipitously  from  the  left, 
in  three  masses  that  push  their  sharp  extremities  into  the  sea.  To  the 
right  a  two  masted  schooner,  with  a  boat  trailing  from  it,  lies  at  anchor; 
while,  close  in  on  the  left,  a  sailboat  is  nearing  the  breakers.  These  stretch 
in  a  diagonal  line  across  the  picture,  and  the  water,  after  they  break,  slides 
up  the  sand  in  white  snake-like  coils.  In  the  gloom  which  spreads  over  the 
shore  two  figures  appear  on  the  left.  The  sky  is  choked  with  flocks  of  greyish 
cloud. 
Signed  and  dated  at  the  right:  "Aivasovsky,  1876." 

H.  20I  in.     W.  28!  in. 

WILLIAM  H.  BARTLETT 

BORN    IN     1858 

8O  STREAM  WITH  BOAT.  Between  yellow  osiers  that  show  on  each 
U  M  side  of  the  foreground,  a  stream  flows  back  diagonally  to  the  left, 
where  it  is  overhung  by  a  willow,  growing  on  the  right  bank.  The  latter  is 
bordered  by  a  silvery  grey  pasture  that  slopes  gently  up  to  a  line  of  trees, 
fledged  with  pale  yellow  foliage.  Behind  these  appears  a  large  stone  house 
with  dark  gables.  The  sky  is  filled  with  rainy  looking  grey  and  white  clouds, 
which  are  reflected  in  the  waters  of  the  stream,  where  a  man  is  seen,  leaning 
out  of  a  bluish  boat. 
Signed  and  dated  at  the  left  :"W.  H.  Bartlett, '84." 

H.  12  in.     W.  17!  in. 

77 


89 


MODERN    PAINTINGS 

ANTOINE  LOUIS  BARYE 
1795-1875 

p.  ROCKY  LANDSCAPES  AND  DOES.  Two  does  are  picking 
^  their  way  along  a  sandy  trail  that  winds  down  from  the  right,  amid 
patches  of  brown  heather,  slate  coloured  boulders,  and  a  scattering  of  green 
and  yellow  vegetation.  It  is  a  wild  scene,  the  confusion  of  which  increases 
towards  the  top,  which  terminates  in  a  barrier  of  rocks.  Here  five  spare  oaks 
grow  out  of  a  fissure,  the  one  on  the  extreme  right  being  distinguished  by  its 
dead  branch  ends.  The  sky  is  a  cold  bluish  cream,  ascending  to  a  livid  grey. 
Signed  at  the  right:  "  Barye." 

H.  8|  in.     W.  ill  in. 


JULES  BASTI EN-LEPAGE 
1 848- 1 884 

O^  t  THAMES— BLACKFRIARS  BRIDGE.  The  foreground  of  water 
j7  is  interrupted  by  two  rude  wharves,  formed  of  diagonal  planking; 
which  jut  out  from  the  right  side.  In  front  of  the  nearer  one  are  moored  a 
light  blue  boat  and  a  brownish  yellow  one,  while,  bottom-up  on  the  planking 
lies  another,  bluish  grey.  Beyond  it  a  naked  boy  seems  about  to  dive  into  the 
water.  On  the  farther  staging  stands  a  man  in  black,  behind  whom  appears 
the  black  mass  of  a  barge,  moored  alongside.  The  distant  wall  of  the  em- 
bankment, showing  white,  stretches  across  the  rear,  terminating  on  the  left 
in  the  trees  of  The  Temple  Gardens,  off  which  lies  a  Thames  passenger  steamer. 
Over  on  the  right  appear  the  dome  of  St.  Paul's,  and  a  glimpse  of  Blackfriars 
Bridge. 
Signed  and  dated  at  the  left.     "  Bastien-Lepage,  Londres,  Juillet,  '81." 

H.  19!  in.     W.  26!  in. 


89 


r%  THAMES— LONDON.  A  greyish  drab  wharf  cuts  across  the 
left  corner  of  the  foreground.  Four  boats  are  moored  alongside, 
of  one  of  whicbis  visible  only  the  bow,  attached  to  the  wharf  by  a  hawser. 
Back  of  them  is  a  straggling  mass  of  moored  craft  (one  conspicuous  for  a  crim- 
son cushion)  which  ends  with  a  black-funneled  steamer.  This  lies  off  a  ware- 
house or  factory,  distinguished  by  a  tall  chimney  that  rises  starkly  against 

78 


MODERN    PAINTINGS 

a  sky  of  old  ivory  tone,  tinged  with  rose.  Out  in  the  centre  of  the  stream  is 
another  confused  mass  of  shipping,  terminating  near  the  front  in  a  thicket  of 
masts  of  Norwegian  timber-boats.  Behind  them,  the  water,  which  in  the 
foreground  is  a  clouded  cream  has  grown  to  a  smoky  grey,  merging  with  the 
opposite  bank,  where  misty  suggestions  of  buildings  appear,  extending  to  a 
faint  large  mass  in  the  centre  of  the  horizon.  The  colours  of  the  shipping  are 
variously  drab,  brown,  and  black. 
Signed  and  dated  at  the  left:  "J.  Bastien-Lepage,  Londres,  1882." 

H.  2i|  in.     W.  29!  in. 


Q  ^  *y  GOOSE  GIRL.  The  glimpse  of  village  roadway  is  backed  by  a 
y  Js  drab  cottage  with  a  low  pitched  roof  and  yellow  painted  borders 
to  the  door  and  windows.  Adjoining  it,  on  the  left,  is  a  hedge  in  shadow, 
beyond  which  appear  a  high  wall  and  barn,  the  latter  extending  behind  the 
cottage.  Driving  two  ducks  before  her,  a  girl  is  crossing  the  road  to  a  patch 
of  green,  in  which  ten  more  ducks  are  disporting  themselves.  She  wears  a 
pink  kerchief  fastened  around  her  neck,  and  a  grey  jacket  over  a  dark  slate 
coloured  skirt.  To  the  right  of  the  group  is  a  tall  building,  against  the  corner 
of  which  leans  a  pole,  beside  a  heap  of  stable  litter. 
Signed  at  the  left:  "Bastien-Lepage." 

H.  16  in.     W.  23  in. 


O^  a  DAMVILLERS— EVENING.  Night  is  settling  down  on  the 
U71  artist's  native  village,  Damvillers.  The  sky,  grey  but  still  lumin- 
ous, is  silted  over  with  red-violet  vapour,  especially  toward  the  left,  where 
a  gathering  of  white  clouds  appears.  The  waning  moon  shows  misty.  A 
row  of  cottages,  with  dark  brown  roofs,  stretches  across  the  scene.  The 
monotony  of  their  plastered  walls  is  relieved  by  greyish-blue  shutters  and  a 
pinkish  door,  while  a  bright  yellow  and  red  light  flares  from  one  of  the  windows. 
It  shows  a  little  to  the  right  of  a  girl  whose  figure  appears  in  the  foreground 
of  the  street.  She  is  plodding  homeward,  but  turns  her  head  for  a  moment  to 
bid  goodnight  to  a  youth,  who,  looking  back  to  her  over  his  shoulder,  is  walking 
towards  the  left  front,  where  a  puddle  shows  a  white  reflection.  Back  of 
it,  farther  along  the  street,  stands  a  horseless  wagon,  loaded  with  hay. 
Signed  and  dated  at  the  right:  "J.  Bastien-Lepage,  Damvillers,  1882." 

H.  25^  in.     W.  31  in. 

79 


MODERN    PAINTINGS 

PAUL  ALBERT  BESNARD 

BORN    IN     1849 

Q  £.  HEAD  OF  A  WOMAN.  A  woman's  head  and  shoulder  are  seen  in 
yy  profile,  facing  to  the  left.  The  head,  slightly  leaning  back,  has 
dark  brown  hair,  drawn  down  over  the  forehead  and  gathered,  low  upon  the 
neck,  in  a  loose  bunch,  above  which  appears  a  little  tuft,  like  the  curling  fea- 
ther of  a  drake.  The  flesh  is  warm  in  colouring,  and  under  the  chin  show  four 
fingers  of  the  left  hand,  emerging  from  the  greenish-grey  shawl  that  covers  the 
shoulder.  The  beautifully  modeled  profile  is  seen  against  a  rose  and  creamy 
sky,  below  which  are  suggestions  of  water,  reflecting  their,  hues,  and  a  strip 
of  marshy  grass. 
Signed  and  dated  at  the  left:  "Alb.  Besnard,  1892." 

Panel.     H.  23^  in..  W.  19  in. 


RENE   B1LLOTTE 

BORN    IN     1846 

Q  S_  SCENE  ON  THE  RHINE.  A  ruined  castle  stands  up  prominently 
C>Lj|W  against  the  sky,  high  up  in  the  composition,  to  the  right  of  the 
centre.  It  is  situated  on  the  yellow-green  foothill  of  a  mountain  that  descends 
on  the  opposite  side  of  the  water,  which  occupies  the  foreground.  Along  the 
farther  bank  extend  the  white,  red  roofed  houses  of  a  little  town,  surmounted 
by  a  spire  that,  beginning  in  a  bulbous  form,  rises  gradually  to  a  tapering 
point.  On  the  right  of  the  water  projects  the  end  of  an  island,  covered  with 
a  clump  of  grey  olive-green  trees;  while  in  the  left  corner,  where  the  shore 
sweeps  round  to  the  front,  the  black  head  and  light  blue  blouse  of  a  man  ap- 
pear above  the  pale  green  bushes. 
Signed  at  the  left:  "  Rene  Billotte." 

H.23in.     W.  28!  in. 


GREGOR  VON  BOCHMAN 

BORN    IN     185O 

O       y-   LANDSCAPE    WITH    MOWERS.     A   diagonal    line   of  mowers 

)  I    stretches  from  the  right  of  the  composition  across  the   meadow. 

Some  are  swinging  their  scythes;  others  sharpening  theirs;  while  near  to  the 

80 


MODERN    PAINTINGS 

end  of  the  row  a  man  sits,  resting.  On  the  left  of  this  group  a  child  is  coming 
forward,  holding  a  pitcher  in  one  hand  and  in  the  other  the  hand  of  a  little 
fair-haired  tot,  in  a  mauve  dress,  who  is  stopping  to  pick  a  flower.  A  black 
and  white  dog  stands  in  front  watching  them.  Over  on  the  right  in  the  middle 
distance  a  load  of  hay,  with  a  man  on  the  top,  is  being  drawn  by  four  horses, 
while  on  the  opposite  side  of  the  picture  there  is  a  grove  of  warm  olive-green 
trees,  massed  against  the  grey-blue  sky. 
Signed  at  the  right:  "G.  v.  Bochman." 

H.  9f  in.     W.  16  in. 


ARNOLD    BOCKLIN 
i 827- i 90 i 

Q  Q  SAPPHO.  The  poetess  is  reclining  on  the  brink  of  a  rocky  ledge, 
O  LjJ  kj  fronting  the  deep  blue  of  the  sky;  with  a  vista  below  her  of  which  we 
are  conscious,  though  we  cannot  see  it,  for  the  whole  front  of  the  scene  is 
occupied  with  moss-grown  rocks,  rising  to  where  she  sits.  They  are  inter- 
rupted on  the  right  by  a  group  of  magnificent  trunks,  backed  with  a  luxuriant 
growth  of  large  leaves,  seen  against  a  depth  of  dull  grey  foliage.  Only  in  the 
upper  left  where  the  figure  lies,  is  there  any  break.  Sappho  has  her  back  to 
us;  her  fair-haired  head  resting  on  the  right  arm;  a  gold  harp  held  in  her  left 
hand;  a  white  drapery,  girded  at  the  waist  and  swathed  round  her  legs.  These 
<are  in  shadow,  and  a  dark  mass  of  leafage  is  disposed  behind  her  figure,  but 
above  her  head,  high  in  the  sky,  floats  a  large  white  cloud. 

H.  28!  in.     W.  37  in. 

O  NYMPH  AND  SATYR.     Lying  diagonally  across  the  foreground 

w  Lj|  Lj|   wjtn  hgj.  feet  t0  trie  ]eft;  a  nymph  is  asleep,  her  head  resting  on  her 

left  hand.  The  other  hand  is  laid  upon  the  blue  gauzy  drapery  that  partially 
veils  the  lower  part  of  the  figure.  By  the  curving  of  the  right  hip  this  part 
is  turned  to  the  front,  whereas  the  torso,  which  is  nude  and  of  a  delicate  white- 
ness, rests  on  the  back.  The  form  is  relieved  against  a  rocky  bank,  from  behind 
which  appears  a  part  of  the  nude  figure  of  a  satyr.  He  is  looking  away  over  a 
deep  blue  stretch  of  water,  as  he  plays  a  pipe.  He  sits  in  the  shadow  of  a 
mass  of  large-leaved  foliage,  which  forms  an  arch  across  the  pale  blue  of  a  sky 


MODERN    PAINTINGS 

that  overhead  is  a  goose-grey.     Close  to  the  satyr's  right  shoulder  is  a  spot 

of  brilliant  geranium  red;  and  two  geranium  petals  lie  on  the  nymph's  white 

flesh,  while  three  little  pink  blossoms  grow  near  her  left  elbow,  and  a  nosegay 

of  pink  and  white  flowers  lies  on  the  ground,  as  if  it  had  fallen  from  her  right 

hand. 

Signed  at  the  right:  "A.  B." 

H.  40I  in.     W.  59§  in. 


FRANCOIS    BONVIN 
1817-1887 

r\f\r\  THE  ENGRAVER.     A  paper  screen   hangs  at   an  angle  from  a 
_7  window  high  up  on  the  left,  and  through  it  the  light  filters  on  to 

the  brown  hair  and  scarlet  coat  of  a  man,  who  with  a  shade  over  his  eyes  sits 
at  a  table,  engraving.  Behind  his  mahogany  armchair  a  print  rests  on  an  easel 
and  above  it  on  the  wall  hangs  a  drawing  in  a  black  frame.  A  door,  back  on 
the  right,  opens  into  a  little  brightly  lighted  pantry  where  a  cup  and  a  brass 
tea  kettle  are  standing  on  an  oak  dresser.  From  this  room  a  woman,  in  a  grey 
dress  and  long  white  apron,  with  blue  ribbons  at  her  neck  and  in  her  hair,  has 
just  entered,  carrying  on  a  soup-plate  a  white  bowl  with  a  spoon  in  it. 
Signed  and  dated  at  the  right:  "F.  Bonvin,  1892." 

H.  20  in.     W.  14!  in. 


90 


t  WOMAN  IRONING.  Theironing  board  extends  horizontally  across 
the  picture,  and  the  woman  is  standing  on  the  rear  side  of  it,  so 
that  her  back  is  towards  the  front.  But,  as  with  her  left  arm  extended  she 
holds  the  shirt,  the  arm  of  which  hangs  down  in  front  of  the  table,  the  action 
of  her  other  arm  brings  her  face  into  profile.  She  is  dressed  in  a  white  calico 
bodice  with  short  sleeves,  and  a  brownish-red,  heavy  skirt.  On  the  table  to 
her  right  is  a  white  bowl  on  a  black  stand.  Some  articles  of  clothing  hang  on 
the  wall  to  the  left. 
Signed  and  dated  at  the  top,  right:  "F.  Bonvin,   1858  " 

H.  20  in.     W.  14!  in. 

82 


MODERN    PAINTINGS 

EUGENE  LOUIS  BOUDIN 

1824— 1898 

y^.r\r\   TROUVILLE.     A  triangle  of  sand  occupies  the  left  of  the  fore- 
^7  ground,  where  a  single  masted  black  boat  is  drawn  up,  while  three 

others  appear  farther  back,  one  greenish  blue,  near  which  stands  a  man  in 
a  white  shirt.  The  rest  of  the  foreground  shows  the  water  of  the  harbour, 
which  extends  back  and  towards  the  left  to  a  horizontal  shore-line.  Here 
is  a  row  of  handsome  edifices,  of  various  heights,  with  white  walls  and  slate 
mansard  roofs,  terminated  on  the  left  by  a  large  cream-coloured,  grey-roofed 
building,  in  front  of  which  hangs  a  drab  sail.  Midway  across  the  harbour, 
is  moored  a  fishing  smack,  whose  bow,  blue  under  a  broad  black  band,  dec- 
orated with  a  narrow  red  one,  lies  full  to  the  front.  A  man  in  a  boat  is 
paddling  towards  it  from  the  left. 
Signed  and  dated  at  the  left:  "Trouville,  E.  Boudin,  '73." 

H.  12J  in.     W.  2if  in. 

r\(~\  *5  ROCKY  COAST  AND  SEA.  Conspicuous  in  the  middle  distance 
)  y  is  a  horizontal  spit  of  coast  that  projects  from  the  shore  on  the  left. 
It  rises  in  height  towards  its  centre,  where  appears  a  coastguard  station,  and 
then  gradually  descends  to  the  water.  While  the  summit  is  covered  with 
yellow  grass,  its  sides  show  broken  rocks  that  catch  the  light.  The  shore 
from  this  point  curves  round  to  the  front  and  crosses  the  foreground  in  a 
scattered  mass  of  boulders,  ending  on  the  right  in  two  tall  table-rocks,  one  of 
them  jagged  on  the  top  and  both  crowned  with  yellow  vegetation.  In  the 
cove,  thus  formed,  the  water  is  deep  blue;  its  expanse  being  interrupted  by  a 
row  of  three  small  rocks. 
Signed  at  the  left:  "  Boudin." 

H.  25  in.     W.  26  in. 


EDWARD  BRANDON 
1831-1897 

r^r\  a  SCENE  IN  A  SYNAGOGUE.  Mounting  up  at  the  back  of  the 
J  'T  scene  is  a  lofty  tabernacle,  inscribed  with  the  name  of  Jehovah  above 
a  red  lambrequin,  beneath  which  hang  curtains  of  peacock  blue.     On  the 

83 


MODERN    PAINTINGS 

dais  and  steps  below  this,  enclosed  by  a  rail,  is  a  group  of  elders,  headed  by  a 
rabbi  who  holds  the  double  roll  of  the  Scriptures.  He  wears  a  black  shovel 
hat  and  a  black  cassock,  while  over  his  left  arm  hangs  a  stole  of  white  and 
black  stripes  ending  at  the  bottom  in  rose  coloured  embroidery.  The  Scrip- 
tures are  enclosed  in  a  green  embroidered  case,  from  which  project  the  silver 
ends  of  the  rollers,  designed  like  a  bell  tower  of  three  stories,  each  smaller  than 
the  preceding  one.  Two  similar  devices  are  held  by  a  boy  in  a  white  tunic 
who  stands  facing  the  rabbi.  The  spaces,  outside  the  rails  on  each  side,  are 
thronged  with  men  and  boys;  conspicuous  on  the  right,  being  a  man  in  black- 
court-suit,  seen  in  profile,  as  he  reads  from  a  small  book.  Above  the  edge  of  a 
gallery  on  the  left  appear  the  heads  of  women. 
Signed  and  dated  at  the  left:  "Ed.  Brandon,  1869-1870." 

H.  60  in.     W.  33I  in. 


JACQUES  RAYMOND   BRASCASSAT 
1 805- 1 867 

s>.s-\r  HEAD  OF  A  COW.  The  head  and  neck  of  a  short-horn  cow,  are 
y^y  shown  three  quarters  to  the  front,  facing  left.  Her  poll  is  tan 
coloured;  there  is  a  white  star  on  the  forehead;  the  cheeks  are  black,  and  the 
muzzle  is  a  tawny  dun.  The  ear  and  neck  are  of  the  same  colour,  but  in 
shadow.  The  strongly  modeled  horns  are  tipped  with  dull  blue  that  catches 
a  little  light.  The  background,  drab  at  the  top,  is  shaded  below  to  golden 
brown  and  black. 
Signed  near  the  right :  "  J .  Brascassat." 

H.  165  in.     W.  21  in. 


JULES  ADOLPHE  BRETON 
1 827- 1 906 

^~. /l  LA  SAINT  JEAN.  On  Saint  Jean's  Night  the  peasants  in  various 
M^  parts  of  Europe  burn  bonfires.  As  Sudermann  makes  one  of  his 
characters  in  "The  Fires  of  St.  John"  say:  it  is  a  relic  of  pagan  times,  when 
once  a  year  the  pagan  desires  flare  up  again.  Around  a  fire  in  the  foreground, 
seven  young  girls,  bare  from  the  knees  downward,  are  dancing  wildly  with 
linked  hands.  From  behind  the  left  of  the  circle  appears  a  boy,  running  with 
a  flare  to  kindle  another  fire;  and  in  the  distance  on  this  side  are  figures  waving 

84 


MODERN    PAINTINGS 

rosy  flares  against  the  grey  blue  sky.  Over  on  the  right,  in  the  middle  dis- 
tance, some  white-capped  women  sit  under  a  tree,  watching  another  group  of 
dancers  and  flare-carriers,  who  are  careening  about  a  large  blaze.  The  sky 
is  heavy  with  heat  and  smoke,  through  which  two  stars  are  seen,  while  a  bat 
is  wheeling  around. 
Signed  at  the  left :  "Jules  Breton." 

H.  13  in.     W.  24I  in. 


FREDERICK  BROWN 

BORN    IN    185 1 

^r-  GIRL  WITH  PITCHER.  Coming  down  the  steps  that  lead  from 
y^  j  a  cottage  door  is  a  young  girl,  who  rests  her  right  hand  on  the  sill 
of  the  window,  where  a  red  pot  of  flowering  geranium  stands.  Her  figure  is 
near  the  right  of  the  composition,  facing  the  left ;  the  door  with  a  dipper  hang- 
ing alongside  of  it  appearing  above  her  head.  She  wears  a  bluish  white  jacket 
and  an  apron  tucked  up  over  a  dark  blue  skirt  and  carries  a  pitcher  in  her 
left  hand.  From  the  left  projects  a  spray  of  vine  that  clings  to  the  stone  wall. 
Signed  at  the  left:  "F.  Brown." 

H.  25  in.     W.  1  3  in. 


ARTHUR  CALAME 
1 84 3- 1 864 

,-^Q  OAK  TREES.  Conspicuous  in  the  centre  of  the  composition  is  a 
^^C)  handsome  mass  of  foliage,  formed  by  the  union  of  two  giant  oaks, 
the  trunk  of  one  of  which  reflects  the  light.  Farther  back,  on  the  right,  is 
another,  whose  huge  bole  is  cleft  with  a  wedge-shaped  fissure.  In  the  middle 
distance,  what  seems  to  be  the  outskirts  of  a  wood  crosses  the  scene,  and 
beyond  it,  on  the  extreme  right,  appears  a  distant  glimpse  of  violet  hills. 
Above  the  horizon  float  white  balloons  of  cloud,  which,  higher  up,  gradually 
melt  into  loose  masses  of  darkish  grey  vapour,  through  which  the  blue  is  seen. 
Signed  at  the  left:  "A  Calame." 

H.  13!  in.     W.  1  if  in. 

85 


9 


MODERN    PAINTINGS 

ADOLPHE  FELIX  CALS 
1810-1880 

n^n  LANDSCAPE  WITH  FIGURES.  The  trunk  of  an  apple  tree 
y  y  leans  across  from  the  right;  and  under  it  two  peasants  are  sitting 
at  a  table,  drinking.  Near  them  on  the  grass  are  two  hens.  Balancing  this, 
on  the  left,  is  another  apple-trunk,  supported  by  a  diagonal  prop,  near  which 
three  children  and  a  woman,  carrying  a  baby,  are  approaching  the  front.  The 
orchard  extends  back  to  a  distant  view  of  water,  with  a  sailboat  on  it.  The 
warm  sky  is  filled  with  the  late  glow  of  a  summer  afternoon. 
Signed  at  the  right:  "Cals." 
H.  135  in.     W.  24  in. 

EUGENE  CARRIERE 
1 849 -1 908 

y  ^  MOTHER  AND  CHILD,  SLEEPING.  The  composition  is  one 
of  heads  and  hands,  only  a  small  position  of  the  bodies  being  shown. 
The  mother's  fair-haired  head  leans  back  on  to  her  neck  and  slightly  towards 
her  right  shoulder.  The  eyes  are  closed,  and  the  warm  pale  features  are 
wrapt  in  inexpressible  repose.  Below  her  chin  nestles  the  child's  left  hand, 
its  plump  arm  reposing  on  her  bosom.  Cushioned  against  the  mother's  cheek 
lies  the  face  of  the  sleeping  child,  enveloped  in  transparent  shadow  except 
for  a  soft  glint  of  light  on  the  left  cheek.  The  fingers  of  the  mother's  left 
hand  are  folded  over  the  child's  head,  while  her  other  hand  is  tenderly  laid 
against  its  body.  The  shoulder  of  the  child's  white  linen  garment  reflects  a 
spot  of  bright  light,  which  tends  to  throw  into  reserve  all  the  other  values  of 
light  in  the  picture. 
Signed  at  top  on  left:  "  Eug.  Carriere." 

H.  23^  in.     W.  19  in. 

JEAN  CHARLES  CAZIN 
1 84 1 — 1 90 1 

T    x     SNOW  SCENE  AND  NIGHT.     Leading  up  between  sand  dunes 
y  is  a  road,  the  deep  ruts  of  which  show  brown  against  the  snow. 

The  latter  lies  like  a  pall  over  the  scene,  interrupted  only  by  tussocks  of  grey 
dead  grass  and  by  a  triangular  mass  of  wind-bent  evergreen  that  surmounts 
the  dune  on  the  right.     Opposite  to  it  on  the  left  is  a  large  building  that  looms 

86 


MODERN    PAINTINGS 

like  a  phantom  against  the^solemn  immensity  of  a  dull  violet  sky,  pricked 
here  and  there  with  sharply  shining  stars. 
Signed  at  the  right:     "J.C.  Cazin." 

H.  23  in.     W.  28  in. 


9 


y  r%  SEA  COAST  —  INLAND.  A  horse-shoe  of  water  lies  on  the  right 
of  the  foreground,  dappled  with  soft  grey,  rose,  and  white;  while, 
to  the  left  is  a  peep  of  blue  sea  and  distant  cliffs.  Beyond  the  pool  stretch 
undulating  masses  of  ground,  clothed  with  vegetation,  whose  dark  olive 
greens  are  silvered  over  in  the  light.  Far  off  on  the  left  is  the  vague  form  of  a 
large  building.  The  sky  above  the  horizon  is  thick  and  heavy  with  warm 
drab-grey  clouds,  that  present  an  almost  solid  mass,  except  upon  the  left 
where  they  are  broken  up  by  a  burst  of  cream  and  orange  light. 
Signed  at  the  left:     "J.C.  Cazin." 

H.  25  in.     W.  31!  in. 

AUGUSTIN    FLEURY   CHENU 
.835-1875 

A  t  ->  SNOWY  LANDSCAPE.  Level  fields,  intersected  by  walls  and 
y  y  hedges  and  covered  with  snow,  extend  on  each  side  of  a  central 
roadway  that  leads  back  to  a  small  town.  Isolated  in  the  fields  on  the  left 
is  a  single  cottage.  Where  the  road  enters  between  the  house,  a  woman  is 
standing  before  a  cottage  on  the  left,  a  solitary  figure  in  dark  clothes  and  white 
cap.  The  vista  of  street  terminates  near  a  group  of  buildings  above  which 
appears  the  faint  silhouette  of  a  church  tower.  The  houses  here  extend  in  a 
horizontal  direction  to  the  left,  where  another  tower  emerges,  surmounted  by  a 
cupola.  High  up,  on  the  right  of  the  misty  leaden  sky,  glimmers  the  blurred 
red  disc  of  the  sun. 
Signed  at  the  right :     "  Fleury  Chenu." 

H.  23  in.     W.  3if  in. 

ANTOINE  CHINTREUIL 
181 4-1873 

n  t  a  VILLAGE  ROAD  AND  TWO  FIGURES.  On  a  central  spot 
7  1  of  yellow-green  grass  is  seated  a  woman  in  a  reddish  plum-colored 
dress  with  a  crimson  kerchief  about  her  head.  She  rests  her  cheek  on  her 
hand,  as  she  looks  up  to  talk  with  a  man  in  white  sleeves,  red  waistcoat,  and 

87 


MODERN    PAINTINGS 

dull  blue  trousers,  who  stands  leaning  upon  a  scythe.  Near  him  the  roadway 
which  crosses  the  foreground  bends  round  and  leads  up  to  some  farm  build- 
ings on  the  right.  The  walls  appear  above  a  hedge  of  greenery  and  the  brownish 
red  roofs  are  interrupted  by  three  small  trees,  two  of  which  extend  against 
the  sky.  This  mass  is  balanced  on  the  left  of  the  scene  by  a  bank  of  trees. 
The  sky  is  filled  with  scudding  clouds,  of  greyish  white  that  leave  a  few  spots 
of  deep  blue. 
Signed  at  the  right :     " Chintreuil." 

H.  10^  in.     W.  15I  in. 

,  ^  VILLAGE  ROAD  — TWILIGHT.  Facing  us  is  the  straight  per- 
y  *■  y  spective  of  a  water-course,  almost  dried  up.  Immediately  in 
front  lies  a  triangle  of  water,  where  the  shady  forms  of  four  ducks  can  be 
discovered.  But  the  faint  light  touches  a  part  of  this  pool;  reappears  in  a 
smaller  one  farther  back,  and  again  in  a  still  farther  thread  of  water  that  loses 
itself  in  the  olive  green  vegetation.  Along  the  right  of  this  waterway  runs 
the  shadowed  wall  of  a  long  barn,  thatched  with  straw,  above  the  gabled  end 
of  which  appears  a  dark  poplar  that  soars  into  a  greenish  blue  sky,  hung  with 
grey  veils  of  vapour.  Lower  down  there  are  a  few  floating  wisps  of  violet 
cloud,  while  towards  the  horizon  the  sky  grows  to  a  rosy  cream.  Parallel 
with  the  waterway,  on  the  left,  is  the  village  road,  bounded  by  a  dark  pile 
of  barnlike  buildings. 
Signed  at  the  right:     "Chintreuil." 

H.  i8|  in.     W.  14  in. 


JEAN   BAPTISTE  CAMILLE   COROT 
1 796- 1 875 

A  I  /C  A  HILL  VILLAGE.  A  mass  of  tawny  yellow  boulders,  rising  in 
V  *  ^  tiers,  and  a  low  bunchy  willow  occupy  the  left  of  the  foreground. 
They  are  backed  by  a  steep  slope  of  green  grass,  bordered  at  the  bottom  by  a 
road  that  ascends  from  the  right.  On  it  a  man  in  white  shirt,  dark  trousers 
and  a  straw  hat  is  following  two  cows.  A  little  beyond  them  the  road  branches 
into  two  directions  the  right  hand  one  leading  past  a  small  tree  to  a  slate- 
roofed  barn.  Overhead  is  a  milky  grey  sky  with  clouds  of  creamy  white. 
Signed  at  the  left:     "Corot." 

H.  165  in.     W.  22|  in. 

88 


MODERN    PAINTINGS 

j  t—  EARLY  LANDSCAPE.  This  very  early  example  of  the  artist 
y  J  shows  on  the  left  of  the  composition  a  pale  yellowish-olive  expanse 
of  smooth  grass,  stretching  back  to  a  clump  of  trees,  behind  which  poplars 
spire  up  against  the  grey-blue  vapoury  sky.  The  trees  extend  three  quarters 
of  the  distance  to  the  right,  where  a  road  makes  a  turn  and  leads  back  to  a 
gateway  with  two  domed  lodges.  Beyond  these  is  a  peep  of  yellow  wheat- 
field  and  of  a  chateau  among  trees.  In  the  right-hand  corner  of  the  foreground 
a  dun  cow  lies,  facing  us,  while  to  the  left  of  her  and  facing  left  a  red  one  with 
white  muzzle  stands,  grazing. 
Signed  and  dated  at  the  left:     "Corot,  1825." 

H.  \<j\  in.     W.  12I  in. 

T  O  LANDSCAPE  WITH  COWS  AND  WOMAN.  Juicy  olive  green 
\Jj  1  KJ  grass  extends  across  the  foreground  in  shadow.  On  the  left  a  white 
and  a  black  cow  are  standing  beside  a  red  one  that  is  lying  down,  and  farther 
off  on  the  right  is  the  figure  of  a  woman,  in  a  pinkish  lavender  gown  and  white 
cap.  The  shadowed  meadow  ends  in  a  screen  of  poplars  and  birch,  beyond 
which  is  a  stretch  of  sunny  grass,  followed  by  one  of  a  darker  green,  with  white 
cottages  and  drab  roofs  showing  among  trees  to  the  right.  The  sky,  a  grey 
blue,  streaked  diagonally  with  fleecy  white  clouds,  shows  glimpses  of  brighter 
blue  at  the  top. 
Signed  at  the  left :     "Corot." 

H.  7§  in.     W.  145  in. 

T  ROCKY  LANDSCAPE  WITH  CASTLE.  The  rocky  ledge  that 
y  y  crosses  the  foreground  between  over-arching  trees,  is  interrupted 
in  the  centre  by  an  opening,  in  which  appears  a  man  driving  a  donkey. 
They  are  about  to  descend  into  a  wooded  ravine,  on  the  opposite  side  of  which, 
emerging  from  the  trees,  stands  a  rocky  eminence,  crowned  with  an  irregular 
pile  of  castellated  buildings.  Its  central  portion  is  a  square  tower,  dark  with 
shadow  against  a  white  structure  that  catches  the  light.  The  sky  is  light 
blue,  horizontally  barred  with  greyish  white  clouds. 

H.  8!  in.     W.  12  in.     Oval. 


'4 


(\rir\  THE  BARBER'S  SHOP.  A  flight  of  steps  leads  immediately 
y* •A^J  up  from  the  front  to  a  building,  over  the  ground  floor  of  which 
appears  the  sign,  "Coiffeur."  The  windows  and  door  of  this  floor  are  framed 
with  black,  and  against  the  light  buff  of  the  upper  masonry  three  open  win- 

89 


MODERN    PAINTINGS 

dows  form  a  vertical  row  of  black  rectangles.  The  second  story  window  is 
set  within  a  Gothic  pointed  arch,  and  other  features  of  similar  style  appear 
in  the  buildings  on  the  right,  also  the  shadow  of  an  arch  or  gable,  cast  by 
some  detail,  not  visible,  of  the  building  opposite.  The  suggestion  is  that  the 
whole  architectural  setting  once  formed  a  part  of  some  monastic  institution. 
A  figure  in  a  dark  brown  monkish  habit,  and  white  hat  is  walking  up  the  steps. 
Signed  at  the  left:     "Corot." 

H.  15  in.     W.  12!  in. 

n  ~  t  LANDSCAPE  WITH  RECEDING  STREAM.  Straight  back 
j/  from  the  foreground  extends  a  stream,  bordered  on  the  right  by  a 

path.  The  vista  of  water  is  darkened  throughout  its  entire  length  by  a  dense 
mass  of  foliage  on  the  left  bank,  against  which  are  defined  the  slim  twisted 
stems  of  trees  that  arch  their  boughs  across  the  stream.  Only  at  the  end  of 
the  vista  does  a  patch  of  light  appear,  suggesting  the  extremity  of  a  tunnel. 
Two  ducks  are  swimming  in  the  foreground;  and  to  the  right  of  them,  on 
the  bank,  stands  a  woman  with  a  basket  under  her  arm,  offering  some  flowers 
to  a  little  child.  A  little  farther  back  two  women,  one  in  pink,  are  walking 
away.  They  are  in  the  shadow  of  four  trees,  whose  smooth,  slender  stems  reach 
to  the  top  of  the  picture.  About  half  way  up,  are  seen  between  the  stems  a 
few  red  roofs  and  a  distant  hill.  Above  this  horizon  the  sky  is  a  creamy  white, 
growing  greyer  as  it  ascends. 
Signed  at  the  right:     "Corot." 

H.  32  in.     W.  24I  in. 

„  ^  ^  HILLY  LANDSCAPE.  From  the  foreground  a  hillside  slopes 
jy  "^  gradually  up,  its  buff  soil  carpeted  in  places  with  greenish  grey, 
olive  green,  and  pale  yellow  grass.  Half  way  up  is  a  rectangular  enclosure 
of  low  walls,  somewhat  out  of  repair.  At  an  entrance  to  it  on  the  right  two 
women  are  seated  in  conversation,  while  a  third  with  a  red  water-jar,  poised  on 
her  head,  is  coming  away  from  them.  On  the  left,  nearer  to  the  front,  a  girl 
kneels,  talking  to  another  one  who  leans  back  on  the  grass.  She  is  dressed 
in  a  blue  dress  with  white  sleeves,  and  a  creamy  coloured  apron,  and,  like  all 
the  other  figures,  wears  a  white  cap.  In  the  distance,  on  this  side  of  the  scene, 
where  a  dark  cypress  shows  against  grey  sky,  a  woman  has  just  appeared  over 
the  top  of  the  hill,  carrying  a  basket  on  her  head.  A  reach  of  billowy  white 
clouds  extends  over  the  horizon,  while  the  zenith  is  filled  with  pale  grey  haze. 
Signed  at  the  right :     " Corot." 

H.  125  in.     W.  2i§  in. 

90 


MODERN    PAINTINGS 

r\  O  *?  VIEW  OF  A  VILLAGE.  In  the  middle  distance,  against  a 
y  Js  lavender  grey  sky,  filled  with  violet  vapour  and  some  tufts  of 
creamy  white'cloud,  a  villa  with  a  turret  is  silhouetted.  It  stands  on  the 
brink  of  a  hill  that,  on  the  right,  dips  to  a  horizon  of  far  off  blue  hills,  but, 
towards  the  left,  slopes  up  with  other  buildings,  including  a  spire,  crowning 
its  summit.  Thence,  dotted  here  and  there  with  cows,  it  slopes  gently  down  to 
a  sheet  of  water,  in  the  foreground,  that  reflects  the  clouds.  Here,  on  the 
left,  a  dun  cow  is  feeding  close  to  the  reedy  bank,  beside  which  a  punt  is  moored. 
The  opposite  corner  is  in  the  shadow  of  a  mass  of  olive  brown  foliage,  where 
beneath  some  winding  birch  stems  stands  a  woman  in  white  cap  and  dull  red 
skirt,  beside  another,  whose  costume,  as  she  sits,  shows  some  touches  of 
vermilion. 
Signed  at  the  right:     "Corot." 

H.  9|in.     W.  i6f  in. 

~  rv  a  ITALIAN  LANDSCAPE.  On  a  bank  at  the  right  of  the  fore- 
)  T"  ground  stands  a  huge  willow  trunk,  from  which  the  light  branches 
fan  out  and  fill  the  upper  part  of  the  picture.  An  opening  in  the  greenery, 
to  the  right,  frames  a  figure  that  is  silhouetted  against  the  evening  sky.  Un- 
der the  shadow  of  the  willow  on  the  left  of  the  foreground,  with  her  back  to  a 
birch  stem,  sits  a  woman.  She  is  looking  out  over  a  stretch  of  water,  in  which 
the  hues  of  the  sky  are  reflected.  It  is  fringed  on  the  left  by  a  row  of  small 
willows,  growing  at  the  base  of  an  elevation  that  recedes  in  a  half-circle, 
having  on  its  extremity  an  Italian  villa.  Immediately  above  it  the  sky  is 
creamy,  tinged  with  carmine  and  orange;  but  higher  up  it  cools  to  a  grey  blue. 
Signed  at  the  right:     "Corot." 

H.  i7i  in.     W.  13!  in. 

n«r  CITY  AND  MOUNTAIN  ACROSS  WATER.  From  behind  a 
y  J  pale  buff  wall  on  the  right  of  the  composition  a  sycamore  spreads 
its  branches  over  the  water  that  fills  the  foreground  and  extends  back  to  a 
horizontal  shore-line.  Here  a  row  of  cream-coloured  buildings  is  faintly 
reflected  in  the  water,  and  behind  them  rise  the  grey  roofs  and  towers  and 
creamy  walls  of  a  city  that  extends  along  the  shore  to  the  left.  Back  of  it 
lies  a  range  of  dove-grey  hills.  On  the  left  of  the  water  in  front  a  dark  boat, 
with  red  on  its  bow,  swings  from  a  rope  attached  to  the  wall. 
Signed  at  the  right:     "Corot." 

H.  9!  in.     W.  13!  in. 

91 


MODERN    PAINTINGS 

9,-  /T  HILLY  SEA-COAST.  Forming  a  large  triangle  on  the  left  of  the 
-^ "  composition,  a  cliff  descends  with  undulations,  to  the  sea  that 
occupies  the  right.  It  is  clothed  with  short  olive  green  grass,  tinged  occasion- 
ally with  red  and  dark  in  the  hollows;  while,  left  of  the  centre  some  two-thirds 
of  the  distance  up,  there  is  a  conspicuous  white  spot.  On  the  top  of  the  cliff 
appears  a  red  lighthouse.  The  sea  is  of  a  whitish  hue,  barred  with  violet  and 
pale  rosy  orange  streaks.  A  little  above  the  horizon  a  layer  of  soft  clouds 
stretches  across  the  sky,  which  is  a  greyish  blue,  overhung  with  curtains  of 
filmy  vapour. 
Stamped  at  the  left:     "Vente  Corot." 

H.  9!  in.     W.  1 3I  in. 


-y-  CHURCH  AND  POOL.  The  water  that  fills  the  foreground 
y  I  reflects  on  its  still  surface  the  various  colours  of  a  group  of  build- 
ings that  rise  tier  by  tier  at  the  back  of  the  pool.  First  are  the  pink  and  white 
walls  of  little  outhouses  that  overhang  the  water;  above  them  a  row  of  drab 
houses  with  brown  and  dull  red  roofs;  and  surmounting  these  a  church. 
Facing  us  is  the  apse,  with  flying  buttresses  and  a  high-pitched  roof,  the 
latter  showing  against  a  lateral  roof,  while  to  the  left  rises  the  bell-tower  with 
two  tiers  of  lancet  windows,  and  a  low  spire  at  top.  It  soars  into  a  sky  that 
is  piled  with  white  clouds  over  grey  blue. 
Signed  at  the  left :     "  Corot." 

H.  13  in.     W.  q|  in. 


0O  WOODED  PATH  AND  THREE  FIGURES.  Spotting  a  coun- 
M  -^  ^  try  road  that  leads  back,  until  it  disappears  in  a  hollow  of  dark  green- 
ery, are  three  figures;  a  man  and  a  woman  standing  in  the  foreground,  who 
turn  to  watch  a  woman  approaching  with  a  basket.  The  road  on  the  left  is 
flanked  with  a  profuse  wall  of  foliage,  against  which  the  slender  stems  of  four 
young  trees  show  plainly ;  while  in  the  foreground,  on  the  right,  is  a  small  knot 
of  yellow  grass,  crowned  with  a  close  group  of  five  trees,  which  extend  a  few 
branches,  sprinkled  with  leaves,  across  the  roadway,  but  otherwise  are  bare, 
until  at  the  top  they  spread  into  masses  of  foliage.  To  the  right  of  these 
trees  is  a  vista  of  water,  terminated  by  a  bank,  on  which  are  pink  and  white 
houses. 
Signed  at  the  right:     "Corot." 

H.  23  in.     W.  31I  in. 

92 


MODERN    PAINTINGS 

n  ry  n  COURTYARD  WITH  WOMAN  AT  DOOR.  In  the  centre  of 
y  y  the  middle  distance,  a  woman,  with  her  hand  on  the  open  glass- 
door,  pauses,  as  she  is  about  to  enter  a  red-tiled  shed,  and  turns,  perhaps  to 
speak  to  a  figure  that  crouches  on  the  right  of  the  foreground,  where  her  pink 
cap  makes  a  spot  in  the  shadow  thrown  by  a  thicket  of  young  trees.  Over 
the  top  of  the  shed  appears  a  mass  of  yellowish  olive  foliage  and  a  chimney  at 
the  gable  end  of  a  roof.  On  the  left  of  the  woman's  figure  a  small  tree  stands 
in  the  yard,  the  stem  forming  a  wriggling  line  against  the  door  post.  On  the 
left  of  the  shed  runs  up  the  edge  of  a  tall  building  in  shadow,  with  a  sturdy 
vine  clinging  to  its  drab  wall. 
Signed  at  the  right:     "Corot." 

H.  21  in.     W.  19I  in. 


93 


^  WOMAN  AND  CHILD  ON  THE  SEA  SHORE.  A  woman,  whose 
black  hair  is  plaited  and  confined  with  a  red  band,  kneels  on  one 
knee  across  the  picture,  leaning  forward  to  support  a  little  child  who  is  seated 
on  the  ground  to  the  left.  The  latter  is  seen  full-face  in  a  white  cap  and 
drabbish  mauve  coat;  while  the  woman's  costume  consists  of  an  amber-brown 
skirt  and  a  black  bodice  with  short  white  sleeves.  She  is  kneeling  on  a  white 
cloth.  In  the  distance  on  the  right  is  an  indication  of  two  figures  on  the  edge 
of  the  sand,  looking  out  over  the  sea,  where  a  white  sail  appears.  In  the 
left  distance  there  is  the  suggestion  of  a  dark  cliff. 
Signed  at  the  left :     "Corot." 

H.  14I  in.     W.  1 7§  in. 


93 


t  SANDY  ROAD.  A  sandy  road,  interrupted  with  patches 
of  short  grass,  leads  straight  back  to  a  fence  and  two  posts, 
whence  it  disappears  downhill.  Along  the  left  of  the  foreground  runs  a  stone 
wall,  over  the  coping  of  which  appears  a  mass  of  foliage.  On  the  right,  under 
the  shadow  of  a  bank  surmounted  by  pale  yellow-green  trees,  are  two  figures 
and  a  black  cow  with  white  face.  The  bank  is  continued  to  the  middle  dis- 
tance where,  as  the  road  turns  to  the  left  in  its  descent,  the  dark  hedge  of 
greenery  closes  in  the  vista.  Two  cypresses  rise  above  it,  showing  against  a 
distant  line  of  violet  hills.  Above  them  is  a  streaky  sky  which  grows  into 
billows  of  white  cloud  and  finishes  in  an  open  expanse  of  cold  blue.  The  brush- 
work  throughout  is  very  precise  in  handling. 
Signed  at  the  right :     "Corot." 

H.  io|  in.     W.  1 if  in. 

93 


MODERN    PAINTINGS 

n  -,  r)  LANDSCAPE  WITH  DISTANT  VILLAGE  AND  SPIRE.  An 
y  y  old  woman,  in  bunchy  brown  clothes,  a  scarlet  kerchief  over 
her  head,  stands  on  the  right  of  the  foreground,  with  her  back  to  a  stretch  of 
grey  blue  water.  On  the  farther  side  of  it  appears  a  distant  village,  with  a 
spire  that  shows  just  to  the  right  of  the  woman's  head.  The  bank,  clothed 
with  soft  yellow  greens,  crosses  the  picture  to  a  grove  of  birches  that  form  a 
faint  mass,  behind  a  bolder  mass  of  foliage  on  the  left  of  the  foreground.  Here 
is  an  old  stout-stemmed  birch,  ivy-clad,  whose  branches  extend  until  they 
mingle  with  those  of  a  smaller  birch  that  grows  on  the  right,  the  foliage  of  the 
two  being  sprinkled  against  the  creamy  greyness  of  the  sky. 
Signed  at  the  left :     "Corot." 

H.  gl  in.     W.  13^  in. 

p.  -\  ->  NUDE  GIRL.  Against  a  background  of  vapoury  woodland, 
J  3  _v  silvery  grey  and  creamy  blue,  intersected  by  a  few  delicate  tree 
stems,  are  disposed  the  pure  creamy  white  tones  of  the  flesh.  Directly  across 
the  picture,  with  its  head  to  the  left,  the  figure  reclines  upon  a  silvery  bluish 
white  drapery,  laid  upon  the  ground.  The  head  and  torso  are  raised  and 
turned  to  the  front  by  the  support  of  the  right  arm,  while  the  left  one  lies 
easily  across  the  waist.  This  arm  casts  a  delicately  transparent  shadow  over 
the  thigh,  as  also  does  the  head  upon  the  right  shoulder.  Otherwise  the  form 
is  modeled  almost  entirely  in  light.  The  dark  brown  hair  is  fastened  with  a 
narrow  red  ribbon. 
Signed  at  the  left:  "Corot." 
H.  2i|  in.     W.  26!  in. 

~  ^  a  LANDSCAPE  WITH  TWO  FIGURES.  A  mass  of  olive  green 
y  J/  T"  foliage  which  occupies  the  right  of  the  foreground,  is  cut  sharply 
by  the  stems  of  two  silver  birches  and  less  prominently  by  a  third,  all  of  which 
spire  up  and  display  their  feathery  branches  against  the  sky.  To  the  left 
of  these  trees,  almost  in  the  centre  of  the  foreground,  are  two  women  in  white 
blouses,  one  of  them  wearing  a  crimson  cap.  They  stand  beside  a  bunch  of 
rushes,  looking  across  a  quiet  stretch  of  grey  water,  that  extends  back  to 
where  the  wood  comes  round  from  the  right  and  crosses  the  horizon.  The 
foliage  is  softly  silhouetted  against  the  creamy  greyness  of  the  sky,  in  which, 
higher  up,  float  two  white  luminous  clouds,  while  at  the  zenith  a  single  inter- 
val of  blue  interrupts  the  grey  vapour. 
Signed  at  the  right:     "Corot." 

H.  7f  in.     W.  i2f  in. 

94 


MODERN    PAINTINGS 

~  -s  ^  CAMPAGNE  ROMAINE,  1828.  High  up  in  the  centre  of  the 
y  J/  J  scene  is  a  pile  of  buildings  with  numerous  square  towers,  reflecting 
the  rosy  light.  It  is  perched  upon  a  hill  whose  wooded  slopes  descend  to  a 
lake  on  the  right.  Overhanging  it  and  distinguished  by  a  very  large  chimney, 
is  a  villa,  built  upon  a  basement  of  piers  and  arches.  From  this  point  a  road 
ascends  to  the  front,  bordered  on  its  right  by  a  luxuriant  growth  of  trees, 
terminating  in  the  foreground  with  a  graceful  white  birch.  Opposite  to  it, 
on  the  right,  a  single  tree  rears  its  tall  trunk  and  fans  its  boughs  against  a 
sky  of  pale  robin's  egg  blue,  flecked  with  rosy  cream.  The  blue  is  greyer 
towards  the  horizon,  where  a  streak  of  mauve  pink  marks  the  shore  line. 
High  upon  the  left  are  distant  violet  hills. 
Signed  at  the  lower  left  corner:  "Corot." 

H.  \2\  in.     W.  i8i  in. 


n  -,/.  NIGHT  LANDSCAPE  AND  LIONESS.  On  the  left  of  the 
y  J?  composition  the  huge  bole  of  an  oak  leans  towards  the  frame,  while 
some  of  its  branches  extend  across  the  picture.  Between  the  masses  of  their 
foliage  appear  glimpses  of  grey  sky  already  in  shadow,  but,  lower  down,  the 
grey  is  still  luminous  and  flecked  with  cream  and  rosy  flashes,  that  towards 
the  horizon  gather  into  a  stretch  of  billowy  clouds,  against  which  appears  the 
sullen  mass  of  distant  olive  drab  hills.  Below  the  oak  trunk  projects  a 
triangular  bank  of  rocks  and  vegetation,  on  the  edge  of  which  a  lioness  stands, 
fronting  the  vale,  where  mists  hover  over  a  winding  stream. 
Signed  at  the  lower  left  corner:  "Corot." 

H.  46|  in.     W.  38!  in. 


f^-yr-j  LAKE  OF  AVERNO.  A  still  pool  of  deep  green  water  lies  at 
y  J/  /  the  bottom  of  an  amphitheatre  of  dark  solemn  hills.  Some  slope 
gently  up,  while  others  rear  up  like  bastions.  On  a  summit  towards  the  right 
there  is  the  indication  of  a  building,  beyond  which  rises  a  distant  pyramid 
of  hill,  with  a  square  structure  on  its  apex.  Over  on  the  left  is  another  dis- 
tant eminence,  where  from  a  pile  of  rocks  or  buildings  a  thin  vein  of  rosy  mauve 
smoke  ascends  into  the  pale  robin's  egg  blueness  of  the  sky.  High  up  hover 
a  few  flutters  of  rosy  creamy  cloud. 
Signed  at  the  left :     "Corot." 

H.  1 1  in.     W.  17  in. 

95 


MODERN    PAINTINGS 

n«jO  VILLAGE  LANE  WITH  GATEWAY.  Conspicuous  on  the 
y  J  ^  right  of  the  composition  are  the  two  stone  piers,  surmounted  with 
balls,  and  the  iron  gates  of  an  entrance  to  some  estate.  Immediately  inside 
of  it  the  roadway  crosses  a  bridge  that  spans  a  stream,  which  appears  on  the 
left.  Here,  beside  the  corner  of  a  building  that  catches  the  light,  a  sycamore 
and  a  willow  overshadow  a  little  path  which  leads  down  to  the  water.  Be- 
side the  roadway,  at  the  head  of  the  path,  a  woman  stands  at  a  tub,  washing; 
while  a  boy  lolls  on  the  grass. 
Signed  at  the  left :     "Corot." 

H.  \i\  in.     W.  1 5  in. 

„  ->n  LANDSCAPE  WITH  STREAM  AND  WILLOWS.  A  bold 
y  J)  )  reach  of  solid  yellowish  olive-green  foliage  extends  back  from  the 
left  foreground,  casting  shadows  of  tones  darker  than  its  own  on  the  stream, 
which  borders  it.  Only  on  the  right  of  the  water  is  there  a  patch  of  whiter 
hue,  where,  beyond  the  reeds  and  feathered  grass,  three  pollard  willows  grow 
upon  the  bank.  They  spread  their  puffy  masses  of  leafage  against  a  grey  sky, 
in  which  one  white  cloud  floats  conspicuously.  To  the  right  of  the  trees  lies 
a  meadow,  across  which  appears  a  white  cottage  with  dark  roof  and  lean-to 
shed.  Trees  show  faintly  in  the  farthest  distance. 
Stamped  at  the  left :     "  Vente  Corot." 

H.  19!  in.     W.  35  in. 

r\  Ar\  DECORATIVE  LANDSCAPE  WITH  FIGURE.  A  very  de- 
)  \  corative  arrangement  occupies  the  right  of  the  foreground,  where  a 
big  birch-stem  and  three  smaller  ones,  radiating  from  the  same  spot,  and, 
farther  to  the  right,  two  twisting  stems  form  a  screen  of  graceful  lines.  Be- 
hind this  is  a  patterning  of  bright  green  leaves  upon  a  dark  background  of  vines 
and  undergrowth.  The  stems  are  smooth  and  olive  green  in  hue,  except  the 
twisted  ones,  which  catch  a  warm  light  that  turns  them  buff.  Over  on  the 
left  is  a  dark  green  bank,  in  the  shadow  of  which  appear  the  white  shirt, 
red  belt  and  pink  cap  of  a  man,  bending  to  his  work.  Beyond  this  mass  lies 
a  stretch  of  quiet  grey  water,  and  in  the  distance  are  a  ridge  of  grey  hills  and 
the  indications  of  a  village,  silhouetted  against  a  warm  creamy  sky  that  is 
flecked  with  rosy  lavender  clouds. 
Signed  at  the  right:     "Corot." 

H.  23  in.     W.  35§  in. 

96 


94 


MODERN    PAINTINGS 
I 

t  COURTYARD.  To  the  right  several  gray  and  cream  white 
coloured  houses  seen  from  the  back  the  upper  part  of  which  is 
lighted  by  the  sun.  In  the  right  foreground  a  white  tree.  A  white  rock  to 
the  left  and  trees  behind  it.  In  the  foreground  a  dark  pool  with  reflections 
from  the  houses.  Behind  it  a  brown  wood  fence.  Light  sky  with  white 
clouds.     Signed  in  the  right  foreground.     "Corot." 

Canvas.     H.  1 7  in.     W.  13^  in. 


GUST AVE  COURBET 
1819-1877 


n  a  r)  RIVER  SCENE  AND  BATHER.  In  a  meadow  that  forms  the 
y  1  left  bank  of  the  river,  a  man,  having  laid  his  "hutte"  on  the  grass 
with  his  clothes  in  it,  is  approaching  the  water.  The  latter  at  this  point  is  a 
lovely  grey  blue,  which,  farther  back,  deepens  to  a  blackish  green  under  the 
shadow  of  a  big  oak  on  the  opposite  bank.  Here  a  road  leads  back,  beneath  a 
steep  wall  of  rock,  through  a  wood,  to  the  hill  which  occupies  the  greater 
part  of  the  background.  Crowned  with  a  ruined  castle,  and  at  some  distance 
off  with  a  campanile  and  other  buildings,  it  slopes  down  to  the  river,  spotted 
half  way  by  a  group  of  little  structures  and  fringed  at  the  base  with  willows 
that  overhang  the  stream. 
Signed  at  the  right:     "G.  Courbet." 

H.  25  in.     W.  31!  in. 

^  1  *\  ROCKY  SHORE.  The  horizon  line,  some  two  thirds  up,  extends 
7iy  between  a  greenish  blue  sky  and  a  sea  of  lapis  lazuli,  uninterrupted, 
until  on  the  right  it  slopes  up  to  a  greenish  blue  hill.  The  latter  shows  against 
whitish  grey  vapour,  that  grows  pinker  towards  the  horizon's  centre.  From 
this  hill  the  coast  curves  forward  to  a  steep  cliff  with  verdure  on  its  summit, 
and  thence,  continuing  its  curve,  reaches  the  front,  where  it  crosses  the  fore- 
ground. Here  the  warm-coloured  sand  is  strewn  with  boulders,  green  with 
seaweed.  Conspicuous  among  them  is  a  group  of  three,  surmounted  by  a 
bush.  The  water,  veined  with  diagonal  lines  of  lapping  surf,  gives  the  sug- 
gestion of  fresh  and  breezy  weather,  possibly  following  a  shower,  for  grey 
clouds  dapple  the  deep  blue  of  the  upper  sky. 
Signed  at  the  right:     "G.  Courbet." 

H.  1 7§  in.     W.  23  in. 

97 


MODERN    PAINTINGS 

n  a  a  WILLOWS  AND  BROOK.  The  bright  green  foreground  is 
y^^  barred  with  shadows,  that  creep  between  the  trunks  and  filter 
through  the  massy  deep  green  foliage  of  a  row  of  willows,  which  fringe  the 
bank  of  a  brook.  This,  bright  with  sunshine,  flows  from  the  left  of  the  fore- 
ground back  towards  the  centre  of  the  composition,  where  it  disappears  and 
the  vista  is  continued  in  an  avenue.  Conspicuous  on  the  right  of  the  picture, 
a  little  way  back  from  the  pond,  stands  a  cottage  whose  greenish  drab  masonry 
is  flecked  with  patches  of  light  and  transparent  shadows.  A  pole  leans  against 
the  corner  of  it. 
Signed  at  the  right:     "G.Courbet." 

H.  15!  in.     W.  22f  in. 

„  i  ^  CASTLE  OF  CHILLON.  From  the  steep,  wooded  bank  on  the 
77  /  left  juts  out  the  Castle  of  Chillon,  with  the  well-known  masses 
of  its  two  high-peaked  round  towers  and  square  tower  with  pitched  roof.  A 
few  shrubs  grow  at  the  base  of  its  walls,  which  come  sheer  down  to  the  water, 
where,  a  little  distance  to  the  right,  appears  a  boat  with  two  swallow-wing 
sails.  Beyond  them,  completing  the  vista  of  the  lake,  rise  the  grey  flanks 
and  snowy  summit  of  the  Dent  du  Midi.  In  the  foreground  two  rude  boats 
lie  alongside  the  shore,  in  the  centre  of  which  is  a  figure  in  a  white  shirt. 
Signed  at  the  left :     "G.Courbet." 

H.  23  in.     W.  28!  in. 

C\  A  f\  WOUNDED  STAG.  A  stag  has  been  at  bay  in  the  water  and, 
71^  torn  by  the  hounds,  has  escaped  and  scrambled  to  the  bank.  Here, 
confronted  by  an  inaccessible  rocky  wall,  overgrown  with  bushes  and  vines 
he  has  sunk  to  the  ground  exhausted.  In  a  last  effort  to  rise  he  has  thrown 
back  his  head,  which  with  the  tongue  hanging  out  shows  against  the  brilliant 
lapis  lazuli  tones  of  the  water.  In  the  latter,  nearing  the  bank,  appear  the 
heads  of  two  hounds,  neck  and  neck  in  pursuit,  while  two  others  follow  in  the 
distance.  Along  the  bank  that  they  have  left  behind,  beech  trees  droop  their 
masses  of  yellow  foliage  over  the  water. 
Signed  at  the  left:  "G.  Courbet." 

H.  19  in.     W.  24  in. 

f\  A  H   ^A  COAST.     More  than  half  the  picture  is  composed  of  a  fine 

/  T"  /    open   sky,  which,  partially   hung  with   filmy  veils   of  vapour,   is 

slatey  blue  at  the  zenith,  but  grows  greener,  as  it  descends,  and  greyer,  when 

98 


MODERN    PAINTINGS 

it  reaches  the  horizon.  Here  a  stretch  of  sea,  deep  lapis  lazuli  in  hue,  crosses 
the  picture,  on  the  left  of  which  a  fishing  smack  is  scudding  before  the  wind. 
Her  white  sail,  catching  the  light,  balances  a  bright  spot  on  the  opposite  side 
of  the  composition,  where  one  of  three  cottages  reflects  the  sun.  These  are 
on  the  summit  of  a  sandy  elevation  that  slopes  down  to  the  left.  At  this 
point,  a  little  nearer  to  the  front,  a  man  and  a  woman  are  laying  out  a  net 
to  dry.  Between  them  and  the  spectator  lies  a  pool  of  shallow  water  that, 
fringed  at  intervals  with  low  scrub  bushes,  spread  irregularly  towards  the 
right.  These  foreground  details  are  in  shadow. 
Signed  at  the  left :     "G.  Courbet." 

H.  37  in.     W.  52!  in. 

,Q  MARINE  — STORMY  WEATHER.  Ragged  veils  of  dark  rain- 
7/1  clouds  are  hanging  from  a  vault  of  murky  vapour  over  a  horizon 
of  dull  drab  grey;  and  the  sea  which  stretches  to  a  strip  of  sand  in  the  fore- 
ground is  streaked  with  cold  light  and  shadow.  As  it  breaks  on  the  shore,  it 
shows  a  line  of  greyish  white,  beyond  which  is  a  dark  passage  of  water  where 
the  drab  sail  of  a  boat  shows  on  the  left.  Then  again  is  a  lighter  strip  of  grey- 
ish sea,  pricked  with  the  whiteness  of  a  sail;  and  in  the  distance  a  dark  misty 
stretch,  spotted  with  the  vague  suggestion  of  more  sails. 
Signed  and  dated  at  the  left:     "Gustave  Courbet,  '66." 

H.  165  in.     W.  25  in. 

THOMAS  COUTURE 
181 5—1879 

s^  a  p.  LANDSCAPE  NEAR  SEA.  In  the  centre  of  the  foreground  an 
717  old,  brown  leather  portmanteau  lies  open  on  the  sandy  ground, 
a  dark  brown  coat  and  white  shirt  hanging  out  of  it,  while  a  brown  high  hat 
has  rolled  a  little  way  to  the  right.  Immediately  behind  these  objects  is  a 
knoll,  surmounted  by  a  dead  tree  with  many  spiky  boughs.  Beyond  this 
on  the  left,  lies  a  hollow,  formed  by  the  half-circle  of  the  cliffs,  which,  clothed 
on  the  top  with  olive  green  vegetation,  slope  down  with  pale  buff  sides  to  the 
sandy  shore.  Here  in  the  distance  is  visible  a  strip  of  violet  blue  sea.  The 
grey  sky,  shows  a  mottle  of  white  clouds  behind  the  tree  and  becomes  darker 
over  the  cliffs  on  the  left. 
Signed  at  the  left:     "T.C." 

H.  17!  in.     W.  2i§  in. 

99 


95 


MODERN    PAINTINGS 

p.  THE  TROUBADOUR.  Clad  in  a  coffee-coloured  costume  of  the 
fifteenth  century,  a  young  troubadour  sits  in  the  centre  of  a  group 
of  admiring  listeners.  One  leg,  in  its  silk  hose,  is  languidly  extended  across 
the  front  and  his  lute  rests  on  his  lap,  as,  with  right  arm  gesticulating,  body 
leaning  forward  and  his  bushy  black-haired  head  thrown  back,  he  recites 
his  tale.  On  his  left  stands  a  bald-headed  man  with  grizzled  beard,  beside 
a  lady  in  a  blue  robe  over  a  crimson  skirt,  who  sentimentally  leans  her  head 
on  her  hand,  so  that  the  face  is  in  profile.  Prominent  among  the  listeners 
on  the  right  are  two  shepherd  boys,  one,  whose  back  is  partly  covered  with  a 
goat-skin;  the  other,  seen  full  face,  in  a  claret-coloured  tunic. 

H.  68  in.     W.  58  in. 

EDUARD  CHARLEMONT 

1 848- 1 906 


c  j  MOORISH  CHIEF.  In  front  of  a  panelled  wall  of  amber-grey 
y  J  *■  colour,  decorated  with  ornament  in  low  relief,  stands  a  Moorish 
chief  in  a  glistening  white  cloak  that  falls  from  shoulder  to  ankle  in  soft 
crinkling  folds.  Over  his  crimson  fez,  bound  by  a  blue  and  gold  band,  is  a 
burnouse  which  forms  a  white  frame  to  the  black,  bearded  face.  The  cloak 
is  fastened  on  the  chest  with  a  bunch  of  fringe,  and  girt  at  the  waist  with  a 
gold  embroidered  belt,  in  which  are  stuck  two  scabbards,  richly  damascened. 
One  sheathes  a  sword,  but  the  other  sword  is  held  downward  in  the  man's  left 
hand,  the  brawny  black  arm  showing  strongly  against  the  whiteness  of  the 
cloak.  Similarly  the  right  hand  makes  a  spot  of  contrast,  as  it  rests  above  his 
knee.  Down  the  length  of  the  figure  from  the  waist  is  a  strip  of  orange  red, 
through  which  the  under  robe  shows.  On  the  left  of  this  superb  form  is  a 
vertical  band  of  shadow,  and  on  the  right  a  dark  arch,  framing  a  brilliantly 
lighted  interior. 

H.  58J  in.     W.  38  in. 

PASCAL  ADOLPHE  JEAN   DAGNAN-BOUVERET 

BORN    IN     1852 


95 


^  A  GIPSY  SCENE.  A  hooded  cart,  with  its  rear  end  to  the  front, 
■^  stands  a  little  way  back  in  the  centre.  On  the  ground,  at  the  left, 
beside  a  smoking  fire,  sits  a  woman  who  turns  to  watch  a  man,  putting  a  little 
fair-haired  child  upon  the  lean  back  of  a  white  horse  that  is  feeding  on  the 
right.'    A  rosy  light  catches  the  child's  face,  and  illumines  also  the  back  and 

too 


MODERN    PAINTINGS 

shoulders  of  the  horse  and  the  man's  grey  felt  hat  and  one  shoulder  of  his 
brown  overcoat.     Beyond  the  horse  a  willow  spreads  its  soft  foliage  against 
the  pale  blue  sky,  while  on  the  left  of  the  scene  a  bit  of  the  road  is  visible,  as  well 
as  a  distant  glimpse  of  the  village  in  sunshine. 
Signed  and  dated  at  the  left:         P.  A.  J.  Dagnan,  1883." 

H.  17  in.     W.  13I  in. 

~  ~  THE  ARTIST'S  WIFE.  Dressed  in  the  gala  costume  of  a  Breton 
yy  J)  woman,  the  figure,  seen  almost  to  the  knees,  is  seated  three 
quarters  full,  the  face,  however,  turned  in  profile  to  the  left.  The  lady  is 
leaning  against  a  tree-trunk,  surrounded  by  a  mass  of  foliage  which  forms  a 
background  to  her  finely  modelled  features  and  the  precise  arrangement 
of  her  brown  hair,  drawn  tightly  off  the  forehead  and  gathered  in  a  braided 
coil  on  the  crown.  A  black  velvet  collar,  embroidered  with  white  silk  and 
shaped  like  a  yoke,  rests  upon  a  white  stomacher  with  large  puffed  sleeves, 
while  black  velvet  shoulder-straps  connect  with  a  tight  bodice  of  the  same 
material.  This  is  decorated  on  each  side  with  a  row  of  silver  filigree  rosettes 
terminating  near  the  collar  in  a  jewelled  ornament  with  pendent  chains. 
The  arms  below  the  elbow  show  through  black  net  mittens,  and  the  hands  lie 
upon  the  black  dress,  holding  a  prayer  book  with  a  cross  upon  its  binding. 
Signed  at  the  right :     "  P.  A.  J .  Dagnan  B.  1887." 

H.  21  in.     W.  15I  in. 

~  .  GIRL  AT  NEEDLEWORK.  As  she  sits  facing  left,  her  figure 
y  J  ^  turned  three-quarters  to  the  front,  The  girl's  brown  hair  shows 
softly  against  a  dull  bluish  background.  It  is  parted  in  the  centre,  drawn 
down  over  the  temple  and  gathered  in  a  little  knot  on  the  neck.  Her  eyes 
match  the  colour  of  the  hair,  and  the  rosy  face  bears  a  pleasant  smile.  She  is 
dressed  in  a  tightly  fitting  black  gown,  with  sleeves  to  the  elbows,  and  a  little 
brooch  is  fastened  at  her  neck.  Her  hands  are  close  together,  as  she  sews 
upon  a  piece  of  white  material. 

Pastel.     H.  i7f.     W.  nf. 

CHARLES  FRANCOIS  DAUBIGNY 
1817-1878 

~  ~  HILLY  LANDSCAPE  (PANCE).  The  picture  represents  a  hol- 
y  y  y  low  among  the  hills,  bounded  on  each  side  by  grassy  slopes.  That 
on  the  left  of  the  foreground,  clothed  with  olive  green,  golden  red  and  yellowish 

101 


MODERN    PAINTINGS 

vegetation, and  sprinkled  with  grey  boulders,  descends  in  front  to  a  row  ofthree 
large  boulders,  on  one  of  which  a  figure  with  white  cap  and  sleeves  is  seated, 
facing  to  the  right.  Farther  back  the  slope  merges  into  the  olive  green  of  the 
hollow  at  the  end  of  which  is  the  dark  mass  of  a  wood,  and,  to  the  right  of  the 
latter  a  spot  lighted  with  pale  sunshine.  At  this  point  the  opposite  slope 
commences,  rising  in  rich  tones  of  shadowed  browns  and  greens  to  a  village 
and  spire  near  the  top.  The  broad  expanse  of  sky  is  filled  with  scattered 
masses  of  greyish  vapour,  showing  intervals  of  blue  and,  in  the  centre,  a 
cluster  of  white  cloud. 
Signed  at  the  right :  "  Daubigny." 

H.  g\  in.     W.  18J  in. 

nr^  OUTSKIRTS  OF  A  VILLAGE.  More  than  half  the  picture  is 
y  J  occupied  by  the  sky,  in  which  are  scudding  ranks  of  grey  cloud, 
that  towards  the  horizon  merge  into  a  smooth  mass.  Against  this  the  level 
ground  line  cuts  like  a  knife  edge.  It  is  the  top  of  a  slope  that  descends  to 
the  foreground;  and  its  evenness  is  interrupted  by  a  lonely  building  on  the 
right,  a  solitary  windmill  near  the  centre,  and  a  group  of  roofs  towards  the 
left.  The  sense  of  bleakness  is  increased  by  the  thin  cold  light  in  which  the 
grass  shows  pale  drab  and  buff.  It  is  dotted  with  four  black  cows  and  far- 
ther to  the  right  by  two  more  and  a  man.  The  desolation  of  the  scene  is 
completed  in  the  foreground,  where  there  are  ruined  foundations,  possibly 
of  a  church,  for  a  single  arched  doorway  remains  standing.  Near  it  a  woman 
in  a  blue  jacket  leans  upon  a  wall  talking  to  another  who  is  on  the  opposite 
side  of  it.  The  latter's  white  cap  makes  a  shrill  note  amid  the  sombre  col- 
ouring. 
Signed  at  the  left :  "  Daubigny,  '68." 

H.  i8|in.     W.  31!  in. 

~  ,_  RIVER  AND  BRIDGE.  From  the  right  a  bridge,  of  which  three 
y  y  /  piers  are  visible,  crosses  the  river  that  flows  horizontally  through  the 
scene.  At  the  extremity  of  the  bridge  appears  a  square  gate-house,  with  white 
walls  and  red  roof,  beside  some  poplars.  Farther  to  the  left,  the  middle  dis- 
tance shows  a  glimpse  of  a  white  house,  then  a  row  of  trees,  and  later  a  group 
of  three  white  cottages,  one  of  which  has  a  red  roof.  Below  these,  in  a 
nearer  plane,  extend  the  steep  slopes  of  the  river's  bank,  whose  olive-green 
grass  tones,  as  well  as  the  reflections  of  the  bridge,  mingle  with  the  greyish 
blue  of   the  water.     The   sky  is  bright  blue  at  the  zenith,  seamed  lower 

102 


MODERN    PAINTINGS 

down  with  layers  of  white  cloud,  that  settle,  over  the  horizon,  to  a  whitish 

vapour. 

Signed  at  the  right:     "Daubigny." 

H.  10  in.     W.  17  in. 

„  ^O  RIVER  SCENE.  CONFLANS.  Except  for  a  triangle  of  land 
V  y  in  the  left  corner,  the  river  stretches  clear  across  the  lower  part  of 
the  composition,  in  the  front  of  which  seven  ducks  are  swimming.  The 
towing  path  extends  along  the  left  bank,  past  a  group  of  drab  and  white 
buildings,  distinguished  by  a  tall  end-chimney,  that  are  seen  against  a  back- 
ground of  trimmed  poplars,  and  thence  to  a  row  of  dark  uncut  poplars,  shel- 
tering a  White  house  with  red  roof  that  catches  the  light.  Along  the  bank 
at  this  point  lie  two  barges  and  a  tug  with  red  rings  on  the  funnel.  Farther 
back  appears  a  village, climbing  towards  a  spire;  and  the  hill  on  which  it  stands, 
extends  across  the  horizon,  dotted  with  houses,  until  it  disappears  behind  the 
extremity  of  the  right  bank.  The  latter  at  this  point  shows  a  group  of  white 
buildings  and  a  string  of  poplars.  The  water  reflects  the  soft  grey  tones  of  the 
sky,  which  in  its  higher  levels  is  flecked  with  little  white  clouds,  and  at  the 
top  loosens  into  patches  of  blue. 
Signed  and  dated  at  the  left:     "Daubigny,  1867." 

H.  17!  in.     W.  315  in. 

„  r-  ^  A  BROOK.  The  vista  of  brook,  flecked  with  green  patches  of 
yy)  water-weed  and  the  grey  reflections  of  the  sky,  stretches  back 
between  its  approaching  banks.  The  left  one  presents  a  mass  of  rich  foliage, 
against  which  appear  two  irregularly  shaped  stems  of  bluish  colour  that 
lean  across  the  water.  On  the  right,  however,  is  a  stretch  of  smooth  grass, 
bounded  by  a  row  of  silvery  grey  willows,  behind  which  towards  the  centre 
of  the  scene  a  light  poplar  spires  up  against  the  sky.  The  latter  is  a  delicate 
grey  with  clusters  of  creamy  clouds  above. 
Signed  at  the  left:  "Daubigny." 

H.  iof  in.     W.  i3§  in. 

HONORE   DAUM1ER 

1 808- 1 879 

C\flC\  MAN    BATHlNG  CHILD.     In  the  foreground   a   man   dressed 
^  in  a  pale  plum  coloured  bathing  suit,  stoops  to  hold  a  fat  little  child 

that  is  up  to  its  knees  in  water.     The  manoeuvre  is  being  watched  by  a  woman 

103 


MODERN    PAINTINGS 

on  the  right,  whose  costume  of  brown  skirt,  blue  jacket  and  white  cap  is 
shadowed  by  the  slope  of  sand  at  the  foot  of  which  she  is  sitting.  By  her 
side  sits  a  small  boy,  nude  to  the  waist,  whose  shoulders  are  hunched  up  as  he 
leans  back  on  his  hands.  Farther  back  the  figure  of  a  man  has  reached  the 
summit  of  the  slope  and  is  about  to  disappear  behind  the  dark  drab  building 
that  fills  up  the  top  of  the  picture.  Down  at  the  bottom  of  the  slope,  on  the 
left  in  the  middle  distance,  is  the  cloaked  figure  of  awoman, seated  on  a  stone. 
The  contours  of  the  figure  are  brushed  in  with  black,  and  in  some  cases  red- 
dish-brown lines. 
Signed  at  the  right :  "  H.  Daumier." 

H. 


I2§  in. 

W. 

I5§  in. 

ALEXANDRE    DECAMPS 
1803-1860 

96 


y  THE  ORANGE  SELLER.  The  colour  scene  comprises  a  har- 
*  mony  of  warm  dark  browns,  amber  browns,  and  cream.  Awoman 
is  seated  on  a  stone,  in  the  left  part  of  the  composition;  a  veil  over  her  head, 
her  hands  laid  on  her  knees,  the  profile  of  her  dark  face  and  the  angular  lines  of 
her  figure  showing  against  a  lighted  wall.  On  each  side  of  her  feet  stands 
an  earthenware  water  jar  with  a  cup  hanging  from  the  spout;  while  in  front 
are  two  baskets,  piled  with  oranges,  Through  the  half  of  an  archway  on  the 
right  appears  a  pack-mule,  followed  by  the  head  of  another  one.  The  country 
beyond  is  hilly,  showing  one  tree  against  a  streaky  sky. 
Signed  above  the  left:     "D.  C." 

H.  25!  in.     W.  19I  in. 


96 


^  WOMAN  AND  BOY.  Beside  a  little  fair-haired  boy,  dressed  in  an 
w  olive-drab  suit  who  stands  on  the  left  in  shadow,  near  a  rude  gate 
is  a  woman,  leaning  her  two  hands  on  a  stick.  She  wears  a  skirt  of  the  same 
colour  as  the  boy's  suit,  and  a  crimson  bodice,  cut  square  over  a  white  chem- 
isette. Her  face  is  in  shadow,  the  head  being  covered  with  a  white  drapery, 
over  which  lies  another  of  greenish  peacock  blue.  The  latter  colour  makes  a 
vivid  contrast  to  the  white  wall  behind  her,  over  the  top  of  which  appears  a 
dark  blue  sky  with  a  glimmer  of  lighter  blue.  The  woman  carries  a  basket  on 
her  left  arm. 
Signed  high  upon  the  left:     "D.  C." 

H.  1  3J  in.     W.  io|  in. 

104 


MODERN    PAINTINGS 

/T  ~  BEARDED  MAN  WITH  STAFF.  Seated  on  a  stone  upon  the 
y  Jy  hill-side,  his  body  in  profile  facing  left,  his  bald  head  supported  on 
his  right  hand,  the  elbow  of  which  rests  on  another  stone,  is  a  man  with  a 
beard  reaching  to  his  waist.  The  left  leg  is  extended  in  front  of  him,  and  on 
the  knee  lies  his  left  hand,  grasping  a  long  staff.  A  Spanish  cloak  falls  from  his 
shoulders  in  voluminous  folds,  and  his  hat  and  wallet  appear  beside  him  on 
the  seat. 
Signed  at  the  right :     "  D.  C." 

Crayon.     H.  18  in.     W.  14!  in. 

/_  .  MOUNTAIN  LANDSCAPE  WITH  FIGURE.  The  prominent 
y^^  object  of  this  scene  of  light  and  shadow  is  a  wedge-like  mountain, 
clothed  with  golden  and  mossy  green  herbage,  that  juts  out  from  the  right  and 
thrusts  its  rounded  end  against  a  bar  of  white  cloud,  which  cuts  diagonally 
across  the  blue  sky.  Adjoining  the  end  of  the  mountain  is  a  level  stretch  of 
greenish  grey,  which  is  succeeded  towards  the  front  by  a  slope  of  dull  olive  hue 
shading  to  brown  in  the  hollow  at  its  base.  In  the  foreground  is  a  reedy  pool 
whose  still  surface  reflects  the  illumined  wall  of  a  rocky  bank.  Here  in  shadow 
stands  a  man,  with  his  hand  to  his  chin,  as  if  in  profound  meditation. 

H.  19J  in.     W.  24!  in. 

■  £  ~  MARINE  — STORMY  SUNSET.  A  dark  olive-coloured  wall  of 
y  J  rock  rises  on  the  left  against  a  swollen  mass  of  reddish  grey  cloud. 
A  strip  of  this  continues  overhead,  until  on  the  right  of  the  sky  it  grows  into  a 
large  volume  that  reaches  out  in  ragged  spits  amid  clusters  of  creamy  cloud. 
These  at  first  show  intervals  of  blue;  but,  lower  down,  melt  into  a  mass  of 
creamy  vapour,  suffused  with  red.  Vague  suggestion  of  a  distant  shore 
appears  above  the  horizon.  Here  the  water  shows  a  stretch  of  deep  blue, 
which,  shoreward,  is  replaced  by  a  lighter  strip,  this  again  changing  into  a 
foreground  of  deep  blue,  heaving  restlessly  and  ruffled  by  the  wind. 

H.  9  in.     W.  15  in. 


966 


ORIENTAL  NIGHT  SCENE.  Thick  darkness  wraps  the  scene 
J  except  for  a  faint  light  from  the  front,  which  illumines  a  grey  column 
on  the  left  of  the  picture,  a  figure  seated  beneath  it,  and  two  figures,  standing 
at  the  right.  They  are  Arabs.  The  first,  who  appears  to  be  a  beggar,  has  a 
pointed  black  beard  and  wears  a  red  fez  and  blue  cloak  over  a  red  tunic.     He  is 

105 


MODERN    PAINTINGS 

looking  up  at  the  two  other  men.     The  nearer  of  them,  standing  full  face,  is 

dressed  in  a  white  turban  and  a  mauve  cloak,  over  a  white  tunic  that  is  bound 

with  a  scarlet  sash.     The  man  by  his  side  is  seen  in  profile,  his   shaved   head 

capped  with  a  small  fez,  and  a  reddish  plum  cloak  falling  from  his  stooping 

shoulders. 

Signed  at  the  right:     "D.  C." 

H.  23J  in.     W.  195  in. 


p.f.^1  NIGHT  SCENE  AND  WINDMILL,  HOUGEMONT.  The 
y  I  moon,  at  full,  hangs  in  the  centre  of  the  sky,  the  lower  part  of  its 
disc  being  interrupted  by  a  layer  of  silvery  bluish  cloud.  Above  and  below 
it  float  similarly  fleecy  layers,  the  sky  being  framed  in  at  the  top  and  sides 
with  heavy  dark  clouds.  Against  this  imposing  background  looms  up  the 
dark  mass  of  a  windmill,  the  sails  of  which,  however,  are  slightly  luminous. 
A  little  to  the  right  of  the  moon,  it  crowns  a  broken  foreground  of  grassy  hum- 
mocks, among  which  a  man  on  horseback  is  approaching.  On  the  right  of  the 
mill  is  a  house  among  trees,  a  spot  of  reddish  yellow  glow  shining  from  the 
doorway. 
Signed  at  the  left :     "  Decamps." 

H.  12  in.     W.  17  in. 


n^O  ORIENTAL  LANDSCAPE.     The  foreground   presents  a  sort  of 
V  terrace,  bounded  by  a  white  stone  wall,  over  which  one  gazes  down 

to  an  expanse  of  bright  blue  water,  spotted  by  two  groups  of  sailboats  at 
anchor  and  bordered  on  the  opposite  side  with  white,  flat-roofed  buildings, 
one  surmounted  by  a  dome.  This  shore  slopes  back  to  pale  green  and  mauve 
hills,  beyond  which  appears  another  range,  deep  blue  against  a  whitish  sky  that 
overhead  grows  to  robin's  egg  blue.  Prominent  in  the  foreground  are  the  lanky 
legs  and  long  neck  of  a  camel,  ridden  by  a  man  in  a  white  burnouse,  with  a 
sash  of  crimson  drapery  that  hangs  over  the  beast's  flank.  On  the  ground 
beside  the  wall,  seen  under  the  camel's  head,  lounge  two  men.  Over  on  the 
right,  a  picket  fence,  interrupted  by  an  open  gateway  of  upright  and  cross- 
piece,  forms  an  enclosure  in  which  a  conical  straw-thatched  hut  appears  among 
trees. 
Signed  at  the  right :     "  Decamps." 

H.  16  in.     W.  23  in. 

106 


MODERN    PAINTINGS 

EDGARD  HILLAIRE  GERMAIN   DEGAS 

BORN     IN     1834 

C\f\C\  BALLER1NA  AND  LADY  WITH  FAN.  In  the  right  corner 
7^7  of  the  foreground  appears  in  shadow  the  profile  of  the  head  and 
bust  of  a  lady,  holding  a  deep  blue  and  dark  red  fan  before  the  lower  part  of  her 
face.  She  is  seated  in  the  front  row  of  the  orchestra  stalls,  seen  as  she  would 
be  by  a  spectator  behind  and  to  the  left  of  her.  Above  this  dark  mass,  il- 
lumined by  the  glare  of  the  footlights,  spreads  the  old  gold  and  orange-red 
skirt  of  a  ballerina,  who,  with  ribboned  tamborine  extended  in  her  right  hand, 
is  bowing  her  acknowledgments  to  the  audience.  On  each  side  of  her  head 
appears  a  pair  of  legs,  belonging  to  a  dancer-up-stage,  the  rest  of  whose  figure 
is  cut  off  by  the  top  of  the  picture.  Similarly,  on  the  left  of  the  stage,  appear 
the  legs  of  two  more  dancers  who  are  diving  behind  a  wing. 
Signed  at  the  left:     "Degas." 

Pastel.     H.  25!  in.   '  W.  19J  in. 


f\H f^\  A  CORYPHEE  RESTING.  On  a  sofa,  placed  against  a  wall,  is 
y  I  resting  a  coryphee,  whose  figure,  facing  to  the  right,  is  sketched  in 
and  touched  lightly  here  and  there  with  colour.  While  one  leg  hangs  to  the 
floor  and  the  arm  above  it  is  laid  on  the  knee  so  as  to  make  a  long  line  from 
the  head  downward,  the  other  foot  is  on  the  sofa,  the  leg  forming  a  right  angle, 
on  the  top  of  which  the  girl's  left  elbow  rests,  while  its  hand  supports  her  head. 
Cushions  show  behind  her  back. 
Signed  at  the  top  on  the  right :     "  Degas." 

Pastel.     H.  18  in.     W.  23!  in. 


^.h  t  SKETCH  OF  COW.  Seen  from  the  rear,  facing  three  quarters 
y  /  to  the  left,  stands  a  light  reddish  cow,  with  white  belly,  swinging 
her  tail.  The  outlines  of  the  form  are  drawn  in  with  brush  strokes;  and  fin- 
ish at  the  hocks.  Beside  her,  on  the  right,  a  few  biush  strokes,  sketchily 
indicate  another  beast. 
Signed  at  the  left :     "Degas." 

On  Mill-board.     H.  7!  in.     W.  1  if  in. 

107 


97 


MODERN    PAINTINGS 

FERDINAND  VICTOR  EUGENE   DELACROIX 
i 798- i 863 

ry  EAGLE.  As  he  sweeps  towards  the  right  through  an  olive-bluish 
murk  of  space,  the  eagle,  just  about  to  turn  in  his  flight,  has  swung 
his  neck  to  the  left,  so  that  the  head  appears  in  the  centre  of  the  composition. 
The  beak  is  dark  blue,  the  eye  cold  brown  with  a  crimson  flash,  while  the 
feathers  of  the  neck  are  pale  grey.  The  wings,  a  darker  grey  underneath 
with  an  upper  plumage  of  yellow  and  brown,  extend  diagonally,  the  left  one 
to  the  top  of  the  picture,  the  right  cut  off  at  the  tip  by  the  left  lower  angle  of 
the  frame.  The  brushwork  is  sketchy,  but  extremely  resolute. 
Signed  at  the  right:     "  Eug.  Delacroix." 

H.  13J  in.     W.  16  in. 

y—  ^  PORTRAIT  OF  A  MAN.  The  bust  is  shown  three-quarters  to 
)  /  J)  the  front,  clad  in  a  rich  reddish  plum  coloured  velvet  cloak,  with  a 
broad  collar  of  brown  fur,  under  which  appear  a  pale  rose  cravat  and  dark 
waistcoat.  The  head,  nearly  full  face,  is  covered  with  glossy,  curling,  dark 
brown  hair  that  is  brushed  down  over  the  right  temple.  The  brows  are  black 
and  straight;  the  eyes  heavy  lidded;  a  slight  moustache  of  the  same  colour  as 
the  hair  fringes  the  mouth,  and  the  under  lip  is  crimson  and  rather  prominent. 
The  suggestion  of  a  lighted  column  closes  in  the  left  of  the  picture,  the  rest 
of  the  background  consisting  of  a  deep  green-blue  night  sky  with  a  flare  of 
cream  and  rose  at  the  horizon,  over  a  dark  low-lying  landscape. 

H.  28  in.     W.  24  in. 

,_  .  FLOWERS  AND  FRUIT.  In  the  centre  of  the  superb  composition 
/  /  1  's  a  lar§e  basket,  piled  high  with  melons,  tomatoes,  grapes,  and 
peaches,  while  upon  the  table  in  front  lie  eggplants  and  enormous  pears. 
On  the  ground,  at  the  right,  is  another  basket,  in  which  among  large  leaves  and 
crimson  flowers,  marrows  and  other  vegetables  appear.  On  the  left  grows  a 
clump  of  crimson  peonies,  behind  which  extend  a  row  of  hollyhocks  in  blossom. 
The  background  is  enclosed  with  rich  greenery,  except  in  the  centre  where  a 
V-shaped  opening  shows  a  space  of  brilliant  blue. 

H.  50  in.     W.  66  in. 

n  PROMETHEUS  CHAINED.  High  up  on  a  rocky  ledge,  at  the  left 
y  J  j  of  the  composition,  the  nude  form  of  Prometheus  has  been  flung 
upon  its  back  by  three  powerful  female  figures,  that  hold,  respectively,  his 

108 


MODERN    PAINTINGS 

two  arms  and  neck.  While  one  of  his  legs  hangs  over  the  brink  of  the  rock, 
the  other  has  been  drawn  up  in  the  intensity  of  the  struggle.  The  light 
strikes  upon  his  chest  and  on  his  face  with  its  drawn  brows.  It  strikes  also 
the  flank  of  the  woman  on  the  left  who  is  nude,  while  the  other  two  are  in 
shadow  and  swathed  about  with  flame-like  crimson  draperies.  Down  below, 
on  the  right,  are  crimson  flashes  above  the  murk  of  the  valley. 
Signed  at  the  left :     "E.  D." 

H.  8|  in.     W.  12  in. 

,— /T  STILL-LIFE  —  DAHLIAS.  On  an  old  gold  ground  stands  a  dark 
y  /  green  glass  vase,  filled  with  a  superb  bunch  of  flowers  among  which 
dahlias  predominate.  They  are  of  the  quilled  variety;  rose,  white,  and  pink 
in  hue;  set  off  with  dark  green  leaves.  Mingled  with  them,  on  the  right  of  the 
composition,  are  two  pendent  blossoms  of  a  dull  wine  colour  and  a  purple 
pansy. 

H.  19!  in.     W.  I2f  in. 

—  —  LION  DEVOURING  AN  ARAB.  In  the  gloom  of  late  evening 
y  J  I  a  lion  is  devouring  an  Arab  whom  he  had  either  surprised  in  his 
sleep  or  has  found  dead.  The  body  lies  towards  us,  the  black  head  resting 
on  the  left  arm,  the  dark  back  exposed  where  the  shirt  has  been  torn  away. 
The  beast  has  laid  one  paw  on  the  man's  head,  while  with  the  other  he  holds 
up  the  right  arm,  as  he  chews  it.  The  orange-tawny  bulk  of  the  creature's 
body,  dark  in  shadow,  spreads  against  a  sky  which  has  a  gash  of  blood-red  on 
the  horizon  and  is  a  deep  and  gloomy  blue,  paling  above,  however,  to  a  greener 
hue  and  growing  more  luminous. 
Signed  at  the  right:     "Eug.  Delacroix." 

H.  2o|  in.     W.  24!  in. 


NARCISSE  DIAZ  DE  LA  PENA 
1 807- 1 876 

rtO  LA  DANSE  DES  ALMEES.  The  focus  point  of  the  light  and 
y  J  colour  and  interest  of  the  scene  is  the  central  figure  of  a  dancer 
swaying  on  her  bare  feet,  her  brilliant  costume  consisting  of  scarlet  trousers, 
pink  skirt  and  white  ballet  shirt,  confined  over  the  breasts  by  a  blue  jacket. 

109 


MODERN    PAINTINGS 

Jeweled  chains  adorn  her  neck  and  abdomen.  At  the  right  of  her  a  girl 
kneels  on  one  knee,  her  arms,  clad  in  scarlet  sleeves,  arched  over  her  head; 
back  of  her,  is  another  girl  lifting  high  a  tambourine.  The  remainder 
of  the  composition  on  the  right  is  filled  with  the  figures  of  spectators,  some 
sitting,  others  standing,  and  all  in  shadow  occasionally  relieved  by  a  flash 
of  light.  Immediately  in  the  foreground  on  this  side  lie  two  little  blue  slip- 
pers. On  the  opposite  side  the  composition  is  balanced  by  a  smaller  mass  of 
figures,  conspicuous  among  which  is  a  group  of  women  seated  back  of  a  per- 
sonage who  occupies  a  dais  in  the  rear.  With  a  comical  cap  on  his  head,  he 
sits  cross  legged,  in  shadow  except  for  a  light  on  the  knees,  while  an  attendant 
holds  above  him  a  white  puff-shaded  fan.  Bunches  of  olive  green  foliage, 
showing  intervals  of  blue,  close  in  the  scene. 
Signed  and  dated  at  the  right :     "N.  Diaz,  '64." 

H.  17  in.     W.  25!  in. 

ryp.  LANDSCAPE  WITH  LARGE  BUILDING.  Water,  reflecting 
)  J  )  tones  of  amber,  brown,  and  gold,  occupies  the  foreground.  Hereon 
the  left  of  the  centre  floats  a  red  skiff  in  which  a  man,  dressed  in  a  white  shirt 
and  scarlet  cap,  sits  with  a  punt  pole  across  his  knees.  Behind  him,  on  the 
opposite  bank  is  a  clump  of  willows,  above  which,  on  an  eminence,  appears 
among  trees  a  large  rectangular  flat-roofed  building  that  extends  with  smaller 
blocks  towards  the  right.  Dull  reddish  and  golden  coloured  hills  close  in  the 
back  of  the  scene,  the  centre  of  the  summit  being  crowned  by  a  building  with  a 
dome  that  catches  the  light. 
Signed  at  the  right:     "D." 

H.  12  in.     W.  15J  in. 

„  O/^  AN  OIL  SKETCH.     An  altar,  with  fire  on  it,  occupies  the  centre 

V  of  the  composition.  On  the  right  of  it,  a  soldier  in  plumed  helmet 
is  attacking  a  man  whom  he  has  forced  back,  while  a  woman  in  white  veil  and 
red  drapery  is  rushing  in  horror  from  the  encounter.  On  the  left  of  the  scene 
is  the  prostrate  form  of  a  woman,  behind  which  two  women  are  crouching, 
while  another  sits  with  her  head  raised  in  anguish. 

H.  5I  in.     W.  6|  in. 

„  O  t    COWS  IN  THE  FOREST.     Ten  cows  are  standing  in  a  group  in  a 

V  rocky  glen  of  the  forest,  overhung  with  boughs  and  foliage.  They 
form  a  bouquet  of  colour  amid  the  surrounding  gloom.     Conspicuous  in  the 

1 10 


MODERN    PAINTINGS 


centre,  of  the  herd  is  a  white  cow,  seen  in  profile,  facing  the  left.     She  is 
patched  with  black  on  the  hip  and  has  a  bell  around  her  neck. 
Signed  at  the  left:     "N.Diaz.'" 


H.  io§  in.     W.  14  in. 
nO^    LANDSCAP 


'   light  from  a  sky,  swollen  and  ragged  with  whitish  grey  clouds,  and 


hung  at  the  top  and  sides  with  dark  vapour,  is  reflected  on  the  surface  of  two 
small  pools,  that  dot  the  foreground.  The  latter,  broken  up  with  tussocks  of 
withered  grass  and  brown  fern,  appears  to  be  a  clearing  on  the  edge  of  the 
forest;  for  some  distance  back  towards  the  left  stands  a  blasted  trunk,  from 
which  grow  two  little  sprouts  of  green.  Near  this  tree,  in  the  centre,  stoops,  as 
if  gathering  sticks,  a  woman  in  a  dark  blue  dress  and  white  cap.  Farther 
back,  on  her  left,  is  a  clump  of  three  trees,  which  catch  the  light  on  their 
trunks  and  pale  yellowish  green  foliage.  Across  the  scene  at  this  point  extends 
what  appears  to  be  a  rude  wall,  beyond  which  spreads  the  forest. 
Signed  at  the  left:     "N.Diaz." 

H.  7I  in.     W.  oi  in. 

„  O  -n  FOREST  PATH  WITH  WOMAN.  The  forest  opens  back  from 
)  J)  the  foreground,  where  on  each  side  is  a  prominent  group  of  four 
big  trunks  with  silvery  bark, whose  lusty  green  foliage, yellow  in  spots,  mingles 
overhead.  From  the  right  a  narrow  path  trails  up  through  the  centre  of  the 
wood,  and  midway  on  it  appears  a  woman  in  white  cap,  red  shawl,  and  blue 
apron.  She  is  standing  in  a  glint  of  light  that  strikes  across  the  scene  at  this 
point,  and  some  distance  back  of  her  the  forest  opens  into  a  sunlit  glade. 
Here  the  dense  foliage  permits  a  view  of  the  sky,  which  is  deep  blue,  with  a 
few  white  clouds  showing  over  a  triangular  mass  of  distant  purple  trees. 
Signed  at  the  left:     "N.  Diaz." 

H.  27J  in.     W.  22I  in. 


JULES  DUPRE 
1812-1889 

^O  i  LANDSCAPE  AND  SHEEP.  Down  a  roadway  in  the  centre 
y  \  a  flock  of  sheep,  followed  by  the  shepherd,  is  coming  towards  the 
front.      It  is  passing  beside  a  huge  oak  tree  with  silvered  bark,  whose  boughs 

1 1 1 


MODERN    PAINTINGS 

spread  across  the  sky  and  nearly  to  the  top  of  the  picture,  while  the  shadows 
flung  by  its  foliage  and  the  lights  that  creep  through  it  dapple  the  backs  of  the 
sheep.  The  latter  are  approaching  a  gate  on  the  right  that  leads  into  a  mea- 
dow, where  a  cottage  appears  between  two  elms,  whose  boughs  make  an 
arch  over  its  thatched  roof.  On  the  left  of  the  roadway  there  is  a  vista  of 
flat  landscape  crossed,  at  some  distance  back,  by  a  golden  gleam  as  of  lighted 
wheat,  which  is  followed  by  a  quiet  green  strip  with  a  brown  bush,  reared 
against  the  horizon.  Overhead  is  a  splendid  gathering  of  large  white 
clouds,  showing  little  intervals  of  pure  deep  blue. 
Signed  at  the  right:     "Jules  Dupre." 

H.66iin.     W.  54!  in. 

O  ~  OAK  TREE  — NIGHT.  Standing  on  the  outskirts  of  the  forest, 
y^y  like  a  sentinel  in  the  loneliness  of  the  night,  is  a  great  oak,  whose 
foliage  forms  a  half-circle  of  rich  deep  green  against  the  luminous  greeny 
blue  of  the  sky.  Its  bole,  glistening  in  parts  with  silver,  cuts  the  distant 
screen  of  dark  greenery,  that  curves  up  on  each  side  of  the  scene. 
The  foreground  is  covered  with  the  golden  brown  of  withered  bracken. 

H.25in.     W.  28  in. 


986 


SEA-SCAPE.  A  two-masted  fishing  smack  lies,  keeled  over,  on  the 
sand.  In  the  shadow  of  its  black  hull  a  grey  horse  shows  dimly, 
while  a  brown  horse  and  a  man  on  his  back,  are  darkly  silhouetted  against  the 
grey  sea.  There  is  a  man  on  board,  and  some  distance  to  the  right  a  woman, 
in  a  red  dress,  bending  beneath  a  burden,  moves  away  across  the  sand.  A 
line  of  slate  colour  marks  the  horizon,  over  which  hangs  a  sky  filled  with  dull 
leaden  vapour,  except  above  the  boat,  where  there  is  a  gathering  fluster  of 
white  clouds.  Their  light,  as  well  as  a  portion  of  the  shadowed  hull,  is  re- 
flected in  a  grey  pool  of  water  in  the  foreground. 
Signed  at  the  left:     "Jules  Dupre." 

H.  28|  in.     W.  35!  in. 

O  —   COAST  SCENE.     Bulking  large  against  the  sky  is  the  ovoid  mass 

/       /    of  a  fishing  smack,  seen  close  by,  bow  end-on.     She  is  beached  and 

by  her  side  on  the  sand  is  a  boat, whose  top  is  covered  with  a  white  sailcloth, 

two  barrels,  a  basket,  and  the  lid  of  the  latter  with  some  fish  in  it.     On  the 

right  of  the  foreground  a  rude  wharf  projects  into  the  water  which  stretches 

1 12 


MODERN    PAINTINGS 

to  the  horizon,  where  two  sails  appear.     On  the  left  the  middle  distance  is 

closed  in  with  cliffs. 

Signed  at  the  left:     "J.  D." 

Watercolour.     H.  10  in.     W.  135  in. 

nOO    LANDSCAPE  WITH    WINDMILL.     Prominent,    on    the    right 
j7  of  the  centre,  is  an  old  windmill,  olive  drab  in  hue,  near  which  stands 

a  long  low-roofed  cottage,  its  white  wall  catching  the  light.  These  are  on  an 
eminence  that  slopes  down  gently  to  a  little  pool  in  the  centre  of  the  foreground. 
Back  of  this,  in  the  shadow  of  a  boulder,  is  a  figure.  In  contrast  to  the  dark- 
ened foreground,  the  middle  distance  on  the  left,  cut  up  into  patches  of  separate 
cultivation,  is  illumined  with  a  streak  of  light.  Beyond  this,  however,  is 
again  a  shadowed  part,  where  two  cottages  show  among  trees;  this  in  turn 
being  succeeded  by  a  cool  blue  distance,  shining  against  a  greenish  grey-blue 
horizon.  The  sky,  which  occupies  three-quarters  of  the  picture,  presents 
three  layers  of  scudding  vapour  —  white  clouds  over  grey,  and  the  latter  over 
darker  grey. 
Signed  at  the  left:     "Jules  Dupre." 

H.  io|  in.     W.  i8|  in. 


THOMAS   EAKINS 

BORN  IN    1844 

ftQft  LANDSCAPE  — GLOUCESTER.  A  rectangular  space  of  yellow- 
y  y  ish  green  grass  is  separated  from  a  smaller  space  on  the  right  of 
the  foreground,  occupied  with  water,  by  a  roughly  built  stone  wall  that 
extends  back  to  the  middle  distance.  Here  another  barrier,  extending  to  the 
right,  separates  the  water  in  front  from  a  stretch  of  sea  beyond  on  which 
appears  a  sailboat.  Near  the  point  of  intersection  a  gang  of  men,  assisted  by 
a  horse,  are  working  what  appears  to  be  a  rudely  constructed  capstan.  The 
middle  distance  is  closed  in  on  the  left  by  a  wall,  above  which  shows  the  top  of 
a  tree. 
Signed  near  the  right:     "Eakins,  '82." 

Watercolour.     H.  8  in.     W.  lof  in. 

113 


MODERN    PAINTINGS 

HENRI  FANTIN-LATOUR 
1836-1904 

nnO  DAHL1AS  AND  CHRYSANTHEMUMS.  Against  a  dark  back- 
77  ground  a  bunch  of  flowers  is  arranged  in  a  greyish  jar.  In  the 
centre  is  the  full  circle  of  a  rose-coloured  dahlia,  with  quilled  petals;  to  its 
right,  a  pinkish  lavender  blossom  of  the  same  flower,  seen  three  quarters  full 
and,  on  the  left,  a  pale  yellow  one  in  shadow.  The  bouquet  is  interspersed 
with  small  white  and  lavender  flowers,  and  on  its  right,  shows  a  bunch  of 
white  chrysanthemums,  drooping  on  their  stems. 
Signed  at  the  right :         "  Fantin,  '62." 

H.  i6f  in.     W.  21  in. 


MARIANO  FORTUNY 
1838-1874 

r\r\  T  STATUE  DIONYSUS.  In  a  grove  of  olive  trees  five  nude  female 
)  )  forms  are  floating  in  the  air  before  a  statue  of  Dionysus.  The  god 
is  represented  seated,  nude  to  the  waist,  his  right  hand  holding  up  a  baton, 
the  other  resting  on  the  drapery  which  covers  the  legs.  The  beard  is  curled 
in  parallel  ringlets,  the  head  crowned  with  leaves.  The  figure,  grave  and 
benign,  is  seen  against  a  rococo  background  of  rocks.  The  group  that  hovers 
in  front  of  it  suggests  the  shape  of  a  festoon,  the  more  so  that  loops  of  drapery 
are  interwoven  with  the  figures.  One  of  the  latter,  facing  us  in  the  centre, 
whose  form,  warmer  in  tone  than  the  others,  is  seen  against  a  bright  red 
drapery,  holds  in  one  hand  a  thyrsus  and  in  the  other  a  baby  with  a  bunch  of 
grapes.  She  is  crowned  with  ivy  and  red  flowers.  Prominent  also  is  a  figure 
on  the  left,  with  pearls  round  her  neck,  who  holds  a  greenish  blue  veil  over 
her  head. 
Signed  and  dated  at  the  left:     "M.  Fortuny,  Roma,  1858." 

H.  28  in.     W.  31I  in. 

r\r\0  ARAB  CHIEF.  Full  facing  us,  against  a  whitish  background, 
V  V  sits  an  old  Arab  chief;  his  bald  brown  head  encircled  with  coils  of 
crimson  piping,  his  tawny,  magnificently  modelled  torso  bare  to  the  waist. 
His  left  hand,  above  which  is  a  heavy  gold  bracelet,  grasps  a  long  pistol  that 
is  stuck  in  his  scarlet  embroidered  belt,  in  which  also  are  confined  a  sword, 

114 


MODERN    PAINTINGS 

and  a  scabbard  with  two  projecting  handles;  meanwhile  his  right  hand  holds 
another  pistol,  which  lies  upon  the  drapery  that  covers  his  knees.  This 
consists  of  a  red,  cream,  light,  and  dark  blue  striped  shawl,  disposed 
over  one  of  creamy  hue.  Large  gold  rings  depend  from  his  ears,  and  the 
weapons  are  sumptuously  decorated. 
Signed  and  dated  at  the  left :     "  Fortuny,  '74." 

H.  47  in.     W.  36I  in. 


EDOUARD    FRERE 
1819-1886 

„  j~  ^  A  COURTYARD.  One  looks  through  a  covered  passage-way 
y  )j  into  a  little  open  court.  Across  the  foreground  is  an  arch  of  masonry, 
brown  in  shadow,  while  the  cement  floor  has  a  central  strip,  formed  of  three 
rows  of  cobble  stones,  which  extend  to  a  transverse  strip  of  similar  stones 
at  the  entrance  to  the  court.  On  the  left  a  broom  rests  against  the 
wall  and,  on  the  opposite  side,  a  water  pipe  descends.  Beyond  the  latter 
is  a  one  story  cottage,  which  leaves  a  triangle  of  white  sky  where  it  joins  the 
end  house,  that  extends  to  the  top  of  the  picture.  Walking  towards  its  door 
with  tottering  steps  is  an  old  man  whose  back  is  towards  us.  He  wears  a 
blue  blouse,  confined  at  the  waist  by  a  belt,  and  carries  a  basket. 
Signed  at  the  left :  "  Ed.  Frere,  '77." 

H.  \2\  in.     W.  15I  in. 


EMILE    FRIANT 

BORN  IN   1863 

r\r\  a  Preceded  by  a  lively,  sandy  dog  and  followed  by  a  demure  cat,  a 
jj\  little  girl,  carrying  her  bag  of  books,  is  starting  for  school.  She 
has  come  from  a  building  at  the  back  of  the  garden,  which  appears  to  be  a 
stable  with  dwelling  rooms  attached;  and  the  gravel  path  she  is  traversing  winds 
to  the  left  in  front  of  a  bed  in  which  irises  are  growing  alongside  of  shrubs 
and  a  slender  tree.  She  is  dressed  in  a  dark  suit  of  clothes,  with  the  hood  of 
the  cape  drawn  over  her  head. 
Signed  at  the  right:  "  E.  Friant." 

H.  7|  in.     W.  -j\  in. 

115 


MODERN    PAINTINGS 

EUGENE  FROMENTIN 
i 820- i 886 

„Ar  VENICE  VIEW.  On  the  right  of  the  canal  which  stretches  to  the 
yyy  front  runs  a  long  drab  building  with  a  row  of  nine  narrow  windows 
along  the  upper  story  and  the  single  opening  of  a  door  below.  Off  the  latter 
a  gondola  is  moored.  The  wall  of  this  building  receives  a  curious  shadow 
from  some  structure  on  the  opposite  side  of  the  canal.  Here  a  campanile 
ascends  to  the  top  of  the  picture,  adjoining  which  is  a  pink  building  that 
forms  the  corner  of  a  cross  canal.  In  the  distance  an  arched  bridge  appears 
against  a  warm  grey  horizon,  over  which  are  whitish  clouds  surmounted  by  a 
delicate  blue  sky  with  a  few  floating  shreds  of  lighted  vapour. 
Signed  at  the  right;     "Eug.  F." 

H.  iof  in.     W.  13!  in. 


HENRI  HARPIGNIES 

BORN  IN   1 8 19 

nr^  LANDSCAPE  WITH  DONKEY  CART.  A  village  road  comes 
y  y  winding  down  towards  the  port,  and  near  the  foot  of  the  slope  a 
donkey  cart  is  halted,  while  the  driver  talks  to  a  man  and  boy  standing  in  the 
road.  The  boy  has  his  hands  in  his  pockets  and  the  man  by  his  side  wears  a 
blue  blouse  and  black  Breton  hat.  Back  of  these  on  the  right  of  the  road  is  a 
hedged-in  garden,  where  above  the  rest  of  the  foliage  an  oak  rears,  with 
splintered  limbs.  Farther  back  on  the  left,  where  the  road  turns,  appear 
the  gable-end  and  chimney  of  a  cottage,  embowered  in  trees.  The  sky  is  a 
warm  cream,  growing  above  to  pale  blue,  and  sprinkled  with  a  few  horizontal 
streaks  of  white.  On  the  left  of  the  foreground  a  child  in  grey  jacket  and  red 
skirt  is  watching  the  group  on  the  road. 
Signed  and  dated  at  the  left:     "H.  Harpignies,  1874." 

H.  io|  in.     W.  iof  in. 

*->.s-\r-]  BANK  OF  STREAM.  A  structure  of  posts  and  planking  occupies 
yyl  the  centre  of  the  foreground;  possibly  a  ferry  landing  stage,  for 
it  abuts  on  a  river.  Some  way  back  on  the  right  a  woman  has  driven  four 
cows  into  the  water  where  they  stand  in  a  row.  In  the  distance  on  the 
left  the  water  extends  to  a  three  arch  bridge,  beyond  which  appears  an  emin- 

116 


MODERN    PAINTINGS 

ence  crowned  with  trees  and  red-roofed  houses.     The  horizon,  extending  to 
the  right,  shows  meadows  dotted  with  trees,  followed  by  grey  misty  hills, 
lying  under  an  open  creamy  sky. 
Signed  at  the  left :     "  H.  Harpignies,  1887." 

H.  25J  in.     W.  38S  in. 

ALEXANDER    HARRISON 

BORN    IN    1853 

•^•^Q  COAST  SCENE.  The  scene  presents  a  horse-shoe  cove,  opening 
~/j7  towards  the  left,  bordered  by  shelving  sand  that  on  the  opposite 
side  of  the  water  is  overhung  by  cliffs,  running  down  to  the  sea  in  a  point. 
These  are  buff  coloured,  and  clothed  on  their  summit  with  bluish  green  vegeta- 
tion, that  grows  down  the  sides  in  streaks.  The  water  of  the  cove  reflects  their 
tints,  in  tones  of  green,  amber,  and  yellow;  but  beyond  the  extreme  point  of 
the  cliff  it  gleams  a  sapphire  blue.  Near  this  spot  hovers  a  white  sail.  The  sky 
over  the  horizon  is  pale  primrose,  streaked  above  with  blue,  while  over  the 
cliff  floats  a  canopy  of  dusky  ivory. 
Signed  at  the  right:     "A.  Harrison." 

H.  23I  in.     W.  37!  in. 

r\r^ni  MOONLIGHT  MARINE.  Over  a  horizon,  very  high  in  the  com- 
jjj  position,  a  yellow  full  moon  shows  above  a  flock  of  clouds.  Its 
reflection  touches  twice  the  plashing  deep  blue  water,  which,  as  it  reaches  the 
triangle  of  level  sandy  shore  on  the  right  of  the  foreground,  curls  up  in  two 
lines  of  bluish  white  surf. 
Signed  at  the  left:     "Alex.  Harrison." 

H.  22|  in.     W.  3i§  in. 

T  AAA  THREE  SCHOONERS  AT  ANCHOR.  A  projection  from  the 
1  W  vJ  W  left,  of  boldly  painted  rich  green  meadow  forms  a  curve,  that  with 
a  bank  of  some  two  feet  in  height  encloses  a  semicircle  of  sand,  strewn  with 
slime-covered  stones.  Thence  the  smooth  grey  water,  streaked  in  places  with 
grey  of  a  lower  tone,  extends  across  the  foreground  and  back  to  a  horizon, 
high  up  in  the  composition.  It  is  dotted  on  the  right  with  a  row  of  grey 
houses,  in  front  of  which,  a  little  nearer  to  the  front,  are  strung  out  in  a  hor- 
izontal line  three  schooners  at  anchor. 
Signed  at  the  left:     "Alex.  Harrison." 

H.  25  in.     W.  31I  in. 

117 


MODERN    PAINTINGS 

T  f^r\  HARB0R  AND  FORT.  The  whitish  blue  water,  streaked  with 
1  ^^  A  green  and  grey, extends  back  from  the  front.  Itis  bordered  onthe 
right  by  a  battlemented  wall,  overhung  with  bluish  green  foliage,  that  connects 
with  a  round  tower  in  the  middle  distance.  Under  its  wall  a  brig  lies  at 
anchor  beside  a  creamy  white  wharf.  On  the  other  side  of  the  water,  fronting 
the  tower,  projects  the  end  of  a  grey  warehouse  that  stands  on  a  rocky  founda- 
tion. Above  this  building  the  sky  shows  a  streak  of  sapphire  blue,  while 
elsewhere  it  is  scattered  over  with  white  clouds. 
Signed  at  the  right:     "Alex.  Harrison." 

H.  10  in.     W.  13I  in. 


BIRGE  HARRISON 

BORN  IN    1854 

T  /^/^r\  GIRL  IN  WOOD.  Leaning  against  a  tree  on  the  left  of  the  fore- 
*■  v^^^  ground  a  girl  sits  facing  to  the  right,  while  her  face  is  turned  to- 
ward the  front.  Her  hands  are  laid  upon  her  lap,  playing  with  a  white  daisy. 
Her  blonde  hair  catches  on  its  top  a  glint  of  the  sunshine  that  falls  in  a  patch 
behind  her,  spreading  towards  the  rear  more  faintly  and  sprinkling  with  its 
illumination  the  leaves  of  some  of  the  trees  that  extend  across  the  back- 
ground. She  wears  a  pale  buff  lavender  skirt  and  a  full-sleeved  bluish  white 
waist.  The  foreground  and  right  side  of  the  scene  is  in  shadow,  cut  by  a  few 
tall,  slender  shoots. 

H.  iqJ  in.     W.  30  in. 


ANTOINE   AUGUST  ERNEST  HEBERT. 

BORN   IN    l8 I  7 


IOCP 


NEAPOLITAN  GIRLS  AT  A  WELL.  A  portion  of  the  arch 
FJ)  which  marks  the  front  of  the  well  is  seen  at  the  right.  It  sur- 
mounts a  stone  parapet  on  which  a  girl  sits,  holding  a  large  copper  bowl,  the 
blue  drapery  over  her  head  being  seen  against  the  gloom  of  the  cavity.  At  her 
left  a  child  is  leaning  on  the  parapet  to  draw  water,  her  scarlet  bodice  almost 
unlaced  behind.  Near  her  an  older  girl,  in  a  blue  skirt,  hung  by  blue  strips 
over  a  white  undergarment,  turns  to  speak  to  a  companion,  who  leans  against 

118 


MODERN    PAINTINGS 

the  wall  on  the  left ;  one  hand  on  her  hip,  the  other  on  a  copper  bowl  that  stands 

on  the  balustrade.     Two  other  girls  are  sitting  on  the  ground  against  the 

wall. 

Signed  at  the  left:     "E.  H." 

H.  13  in.     W.  19  in. 


WINSLOW  HOMER 
1836-1910 

T  /-v/^.  i  WINTER  COAST.  A  steep  slope  of  purplish  brown  rocks  de- 
*■  WwZJ.  scends  from  the  left,  sprinkled  with  snow  and  showing  a  streak 
of  tawny  faded  grass.  Near  this  a  sportsman  is  standing,  with  right  foot 
advanced,  his  weight  carried  on  the  other;  a  gun  under  his  right  arm,  and 
a  large  duck,  with  black  and  white  neck  and  brown  wings,  hanging  at  his 
back.  He  is  looking  out  over  the  sea,  which  presents  a  disturbed  mass  of 
greenish  blue  water,  breaking  on  the  rocks  and  bursting  to  the  left  in  a  mass 
of  dark  grey  spray.  The  sky  is  a  dull  leaden  colour.  In  the  right  of  the 
foreground  lies  a  three-pronged  branch. 
Signed  and  dated  at  the  left.     "Winslow  Homer,  1890." 

H.  35J  in.     W.  303  in. 


GEORGE  INNESS 
1 82 5- 1 894 

LANDSCAPE  WITH  YELLOW  BUSH.  In  the  foreground  of  a 
1  WW  j  rich  green  pasture  lies  a  pool,  the  left  bank  of  which  is  overhung 
by  a  bright  yellow  bush;  a  sprinkling  of  the  same  growth  appearing  also  on 
the  right.  The  water  receives  the  reflection  of  a  patch  of  light  that  strikes  the 
stout,  smooth,  grey  trunk  of  an  oak,  which  stands  a  little  distance  back  on  the 
right.  Near  it  are  two  stems  forming  a  V,  and  farther  back  other  trees  that 
suggest  the  commencement  of  a  wood.  The  view  is  closed  by  a  distant 
screen  of  oaks,  against  the  tawny  golden  foliage  of  which  two  dark  green  firs 
are  conspicuous. 
Signed  and  dated  at  the  left :     "G.  Inness,  1865." 

W.  17!  in. 

1 19 


MODERN    PAINTINGS 


1006 


on  the  right  of  the  foreground  cast  their  shadows  on  the  surface 
of  a  stream,  which  from  this  point  zigzags  back  through  the  yellow  sunlit 
meadows.  Towards  the  middle  distance  on  the  left  a  man  in  blue  trousers 
and  red  waistcoat  is  about  to  pass  between  two  large  oaks,  whose  foliage  is, 
respectively,  yellow  and  green.  They  are  in  advance  of  a  screen  of  trees, 
apparently  the  edge  of  a  wood,  that  stretches  across  the  distance.  Con- 
spicuously spotted  against  the  undergrowth,  on  the  right  of  the  centre,  is  a 
bush  that  glows  in  the  sunshine  an  orange-brown.  Above  the  farthest  trees 
is  a  mass  of  rosy  white  cumulus  clouds,  surmounted  by  a  blue  sky,  overhung 
with  a  canopy  of  grey. 
Signed  at  the  left:     "G.  Inness." 

H.  1 1  §  in.     W.  155  in. 

^  VALLEY  OF  CADORE,  ITALY.  From  hill  tops,  high  on  the 
*■  \-)^J  J  right,  the  ground  descends  with  an  easy  slope  that  sweeps  clear 
across  the  composition.  On  the  left  of  the  foreground,  the  wood  which  closes 
in  this  side  of  the  scene,  ends  with  three  cypresses,  whence  a  road  appears 
that  mounts  the  slope  diagonally.  A  man  is  going  along  it  behind  a  string 
of  cows.  As  the  road  approaches  the  right,  it  makes  a  sharp  turn,  and  follows 
along  the  foot  of  the  hills,  passing  between  a  single  drab-roofed  building, 
and  a  little  village,  high  up  on  the  slope.  Thence  it  meanders,  past  a  gleam 
of  yellow  light  that  crosses  the  picture,  towards  a  town,  perched  on  a  hill. 
Conspicuous  among  its  buildings  are  a  white  church  and  a  companile,  reared 
against  the  grey  blue  sky.  On  the  right  of  the  foreground,  a  man  and  a 
child  are  walking  away  from  a  man  who  is  seated. 
Signed  and  dated  at  the  right:     "G.  Inness,  Roma,  1873." 

H.  15!  in.     W.  24  in. 

.  ^.^Q  LANDSCAPE.  On  the  right  of  the  foreground  a  road  leads  back 
1  wvJO  between  pastures  that  are  covered  with  sage  green  and  creamy 
grass.  At  the  end  of  it  appears  a  wagon,  with  two  figures  mounted  on  the 
load  of  hay.  It  is  just  about  to  descend  and  disappear  into  a  wooded  hol- 
low. Beyond  this  the  ground  rises  again  with  a  distant  view  of  a  ruined  castle. 
On  each  side  of  the  spot  where  the  wagon  shows  is  an  irregular  line  of  trees 
bounding  the  pastures;  the  one  on  the  right  being  distinguished  by  a  prominent 
white  trunk  with  broken  top  and  ragged  branches. 

H.  10J  in.     W.  165  in. 

120 


MODERN    PAINTINGS 

JOSEF    ISRAELS 
1824-191 1 

T  r>On  M0THER  AND  CHILD  —  LUNCH  TIME.  Before  a  table, 
1  "^-Sy  which  stands  under  a  dimly  lighted  window,  a  woman  sits  in  an 
attitude  that  shows  her  figure  nearly  three  quarters  to  the  front,  while  her 
head  is  almost  in  profile,  as  she  reaches  out  with  a  fork  in  her  right  hand  to 
help  herself  to  food.  Her  soft  brown  hair  is  drawn  neatly  off  the  hard,  but 
well-shaped  forehead,  and  her  face  reveals  a  strongly  modelled  nose  and  a 
firm,  gentle  mouth.  Beside  her  is  a  rosy  plump  little  child,  with  a  mass  of 
soft  brownish  hair,  who  is  holding  a  slice  of  bread  in  her  right  hand  while  with 
the  other  she  crams  a  bit  into  her  mouth.  The  dresses  of  both  involve  tones 
of  slaty  grey.  Against  the  blackish  brown  wall,  a  knob  on  the  back  of  the 
woman's  chair  makes  a  luminous  spot. 
Signed  at  the  left :     "Josef  Israels." 

H.  48!  in.     W.  37i  in. 

^  SEA-SHORE  AND  CHILDREN.  In  a  shallow  pool  amid  the 
1  w  1  vJ  foreground  of  sand,  a  little  child,  in  white  cap  and  dark  blue 
apron,  is  dragging  a  floating  wooden  shoe  by  a  string  attached  to  a  stick  that 
serves  as  a  mast.  She  is  moving  towards  the  left,  but  turns  her  chubby  face 
three-quarters  to  the  front.  Back  of  her  to  the  right  an  old  woman  with  a 
basket  on  her  head  and  a  girl  with  bare  feet  are  just  stepping  into  the  sea, 
which  is  sliding  up  the  sand  in  little  curling  waves,  olive  green  in  their  hollow. 
Farther  back  the  water  is  grey  and  amber,  merging  towards  the  horizon  into 
a  slaty  blue.  Above  it  the  sky  is  a  creamy  grey,  gathering  above  into  streaks 
of  olive-grey  and  rosy  cream.  The  indication  of  a  steamer  appears  on  the 
horizon  to  the  right  of  the  child's  head;  and,  in  the  middle  distance  on  the 
right,  are  the  bow  and  mast  of  a  fishing  boat  with  a  man  on  board. 
Signed  at  the  right:     "Josef  Israels." 

H.  2oi  in.     W.  3 1  f  in. 

CHARLES  JACQUE 
181 3-1894 


IOI  I 


SHEEP  LEAVING  FARMYARD.     On  the  left  of  a  village  road 
that  extends  straight  back  from  the  front,  is  the  high  plastered 
stone  wall  of  a  farmyard.     It  is  in  shadow,  but  through  its  large  open  doorway 

121 


MODERN    PAINTINGS 

stream  at  once  the  light  and  a  flock  of  sheep.  A  dog  stands  by  in  shadow, 
eagerly  watching;  while  on  the  roadway  the  shepherd,  in  blue  blouse  and  straw 
hat,  is  marshaling  the  flock.  To  the  left  a  black  hen,  a  white  one,  and  a 
rooster  are  busy  on  a  patch  of  grass.  In  the  middle  distance,  on  each  side  of 
the  road  is  a  clump  of  trees.  A  rising  whitish  vapour  fills  the  lower  sky, 
loosening  above  into  violet  grey  shreds,  floating  in  the  blue. 

H.  2of  in.     W.  27!  in. 


JOHANN  BARTHOLD  JONGKIND 
1 8 1 9— 1 89 1 

_  _  ,  _  CANALSCENE.  From  a  boat-shed  on  the  left  of  the  foreground 
1^1^  three  men  are  carrying  a  piece  of  timber  over  the  landing  stage. 
Above  the  shed  appear  a  roof  and  two  tall  chimneys,  while  to  the  right  is  a 
group  of  trees,  separated  from  the  water  by  a  picket  fence.  About  the  centre 
of  the  composition  is  a  square  white  building  with  red  roof,  probably  the 
bridge  house;  for  at  this  point  a  bridge,  constructed  of  high  timber  framework 
crosses  the  canal,  leading  to  a  row  of  four  drab  coloured  buildings  with  red 
roof.  The  one  nearest  to  the  front  has  a  space  of  greyish  white  wall,  beside 
which  two  girls,  a  man,  a  woman,  and  a  child  are  watching  a  man  as  he 
punts  his  boat  past  the  spot. 
Signed  at  the  left:     "Jongkind,  1869." 

H.  153  in.     W.  25  in. 

A  HARBOUR  AND  SHIPYARD.  A  triangle  of  sand,  spotted 
1  W  1  j)  with  three  boats,  slopes  up  on  the  right  of  the  foreground.  At  its 
top  sit  three  men  under  the  high  stern  of  a  vessel  on  the  stocks.  Farther 
back  appears  the  row  of  the  ribs  of  a  ship  in  course  of  construction,  upon  which 
figures  are  at  work.  Opposite  this  point  two  vessels  with  sails  hanging  loose 
are  at  anchor  in  the  water,  which  stretches  back  to  the  left,  bordered  with 
buildings.  Near  the  left  of  the  foreground  lies  a  barge,  with  a  man  on  board. 
The  water  reflects  the  whitish  grey  of  the  lower  sky,  while  the  upper  part  of  the 
latter  is  streaked  alternately  with  grey  and  blue. 
Signed  and  dated  at  the  right  centre:     "Jongkind,  '82." 

H.  i6|  in.     W.  23  in. 

122 


MODERN    PAINTINGS 

VIGGO  JOHANSEN 

BORN  IN    I  85  I 

r\  T  A  ^ES  AMIS.  The  handsome  apartment  has  a  lighted  Japanese 
1  W  1  Zj.  lantern  hanging  from  the  ceiling,  but  is  mainly  illumined  by  a  tall 
lamp  with  lace  paper  shade,  that  stands  amid  glasses  and  decanters  on  a 
large  round  table  at  the  left.  Around  this  is  a  group  of  five  figures;  while, 
separated  from  them,  on  the  right,  sits  a  man  in  a  rocking  chair,  and  another 
figure  is  discernible  in  the  shadow  at  the  back.  On  the  left  of  the  table  appear 
the  shoulders  and  massive  head  of  a  man  with  a  beard  forming  a  dark  mass, 
lighted  only  on  the  edge  of  the  profile.  He  is  talking  to  a  lady  who  sits  at  the 
back  of  the  table;  the  light  full  on  her  face  and  on  a  gold  brooch  that  fastens 
her  lace  collar.  Between  these  two  appears  a  child's  face  in  shadow.  On  the 
right  of  the  table,  two  men,  one  with  his  arm  on  the  back  of  his  chair,  turn  to 
speak  to  the  man  in  the  rocker.  The  latter's  figure  is  in  shade,  but  for  a  half 
light  on  the  head  and  left  hand.  Ferns  and  a  white  bust  decorate  the  room, 
and  on  the  green  walls  hang  pictures,  one  of  them  in  a  lustrous  gold  frame. 

H.  42  in.     W.  53  in. 


PETER  S.    KROYER 

BORN  IN   185  I 

t  /^v  t  r-  FISHERMEN'S  REST.  The  scene  represents  a  fishermen's 
1  W  1  ^)  resort  in  the  Danish  seaport  of  Skager;  a  rude  interior,  illuminated 
by  a  window  at  the  rear,  from  which  the  light  streams  across  the  surface  of 
three  long  wooden  tables,  arranged  horizontally  in  echelon.  They  are  scat- 
tered with  little  glasses  and  bottles  of  various  shape;  beside  which  fishermen 
are  sitting  on  wooden  benches.  The  prevailing  characteristics  of  their  cos- 
tumes are  a  fur  cap  and  a  waistcoat,  worn  over  a  sweater.  Thus,  seen  across 
the  front  table  towards  the  left,  is  a  man  in  a  fur-edged  blue  cap  and  an  olive 
green  waistcoat,  smoking  a  pipe.  At  the  table  behind  him  is  a  couple  playing 
cards,  while  at  the  rear  table  are  five  others,  the  face  of  one  of  whom,  as  he 
lights  his  pipe,  is  illuminated  by  the  flame. 
Signed  and  dated  at  the  left:     "S.  Kroyer,  Skager,  1866." 

H.  33I  in.     W.  44!  in. 

123 


MODERN    PAINTINGS 

GOTTHARD    KUEHL 

BORN   IN    185I 

/'  WINE  ROOM.  A  perspective  view  of  the  circular  ends  of  six 
1  W  1  U  large  wine  casks  extends  back  from  the  left  of  the  foreground. 
Beyond  them  a  yellow  door  in  the  back  wall  is  brightly  illuminated  by  a  light 
streaming  from  behind  the  casks.  It  also  falls  on  the  floor,  where  a  black 
and  white  cat  is  licking  a  kitten  of  the  same  colour;  while  two  others,  re- 
spectively, white  and  white  and  brown,  are  gamboling  behind  her.  A  tall 
barred  window  adjoins  the  yellow  door,  and  the  right  wall  shows  the  profile 
of  a  grandfather's  clock,  succeeded  towards  the  front  by  rough  wood  panelling. 
In  the  left  foreground  stand  three  barrels  and  a  vat. 
Signed  at  the  right,  up  the  side:     "G.  Kuehl." 

H.  34  in.     W.  25  in. 


VICTOR    LAGARDE 

_  _  _  ,_  VILLAGE  FETE — NIGHT.  Immediately  in  front,  occupying 
1  W  1  y  the  entire  foreground,  are  the  flagged  roadway,  side  walks  and 
stone  battlements  of  a  bridge  that  leads  straight  forward  into  a  villrge  street. 
All  is  greyed  over  with  the  dimness  of  a  summer  night  except  where  the  orange 
glow  of  lighted  lanterns  gleams  from  many  of  the  windows,  and  from  a  festoon 
of  lights,  slung  from  two  blue  poles  at  the  extremity  of  the  bridge.  Near  them 
appears  the  stooping  figure  of  a  man,  plodding  along  with  a  pole  over  his 
shoulder.  He  is  alone  in  the  silent  street,  and  is  apparently  about  to  extinguish 
the  last  evidences  of  the  fete.  The  vista  of  street  is  closed  in  with  cottages. 
Trees  show  above  the  tops  of  the  houses;  and  white  clouds  are  flocking  in  the 
rosy  lavender  sky. 
Signed  at  the  right :     "  Victor  Lagarde." 

H.  23!  in.     W.  31!  in. 


LOUIS    EUGENE   LAMBERT 

BORN   IN    1825 

O    CAT  AND  THREE  KITTENS.     In  a  barn,  littered  at  the  back 

1  W  1  O   with  straw,  a  tortoiseshell  cat  sits  with  her  body  seen  in  profile  to 

the  right,  while  her  face  is  turned  nearly  full  front.     She  has  white  markings 

124 


MODERN    PAINTINGS 

on  her  nose,  right  paw,  and  round  her  neck.  Sitting  in  front  of  her,  with  face 
turned  up  to  the  mother's  is  a  reddish  yellow  kitten  with  white  throat  and 
chest.  Facing  this  one  is  another  kitten  seated  on  the  right,  whose  fur  is 
tortoiseshell,  mixed  with  white,  while  a  third  of  similarly  mottled  colour 
nestles  close  up  to  the  mother. 
Signed  at  the  left:     "L.  Eug.  Lambert." 

H.  12  in.     W.  155  in. 


STANISLAS  LEPINE 
1836- 1892 

T  ^  J  RIVER  AND  ISLAND.  The  water  which  stretches  back  from 
1  \J  1  \J  the  front  is  interrupted  in  the  centre  of  the  composition  by  a  con- 
ical mass  of  trees,  growing  on  an  island.  Overhanging  the  water,  on  the  right 
bank  is  a  bold  perspective  of  handsome,  dark  green  foliage,  against  which  are 
defined  a  few  slender  stems,  leaning  towards  the  river.  In  the  left  corner  there 
appears  a  bit  of  ground,  from  which  reeds,  growing  out  of  the  water,  extend 
nearly  to  the  island.  The  vista  on  this  side  shows,  in  the  middle  distance, 
a  long  wall  beside  the  water,  overhung  with  greenery  and  enclosing  trees  out 
of  which  rises  a  spire.  The  creamy  colouring  of  the  wall  is  reflected  in  the 
water,  which  elsewhere  gives  back  the  rich  greens  of  the  verdure  and  the  pale 
amber  and  white  tones  of  a  primrose  sky,  hung  with  cumulous  clouds. 
Signed  at  the  right:  "S.  Lepine." 

H.  24  in.     W.  37I  in. 

HENRI    LEYS 
1815-1869 

.  A^A  INTERIOR  OF  INN.  Leaning  her  elbows  on  a  kind  of  counter 
A  W^Z \J  that  occupies  the  right  of  the  foreground,  a  buxom  woman,  in  a 
carnation  red  dress  with  a  creamy  white  tippet  open  to  her  bosom,  is  listening 
to  the  talk  of  a  cavalier.  He  stands  on  the  near  side  of  the  counter,  showing 
her  something  between  his  finger  and  thumb;  his  costume  consisting  of  a 
corselet  over  a  grey  doublet  and  full  breeches  tucked  into  big  boots.  Mean- 
while, another  woman,  in  a  dove-grey  gown,  white  apron,  and  blue  velvet 
jacket,  on  a  low  seat  in  front  of  a  pillow,  covered  with  bobbins,  has  paused 
from  her  lace-making  and  quietly  listens  to  the  conversation.     At  the  back 

125 


I  02  I 


MODERN    PAINTINGS 

of  the  handsome  room,  light  streams  from  a  window  on  to  a  table,  profusely 
laid  with  fruit,  decanters,  and  glasses,  where  a  man  is  standing,  filling  his 
clay  pipe  from  a  brass  bowl.  A  child's  head  appears  above  the  table,  and  in 
an  anteroom,  behind,  other  figures  are  discernible  in  the  shadow. 

H.  28!  in.     W.  24I  in. 


LEON  AUGUSTIN  LHERMITTE 

BORN   IN    1844 

SHEEP  BARN.  In  a  doorway  at  the  back  of  the  barn, on  the  left, 
the  shepherd  is  standing,  his  figure  showing  dark  against  the  light 
which  pours  in  and  dimly  illumines  the  interior.  He  is  counting  the  sheep 
as  they  straggle  in.  Some  are  already  reaching  up  to  the  rack  against  the 
back  wall;  one  is  lying  by  a  rack  on  the  left;  another  stands  in  the  centre  of 
the  floor,  and  still  another  has  approached  the  front.  On  the  right  of  the 
foreground  a  post  extends  up  to  the  timbered  ceiling.  High  up  on  the  left 
is  a  little  window. 
Signed    on  the  left:     "L.  Lhermitte." 

Crayon.     H.  17  in.     W.  13  in. 

.  „  _  _  TRAVELL1NGTINKER.  With  his  back  to  a  van,  that  occupies 
1  U^Z  thelefthalfof  the  background,  an  old  man  is  sitting  before  a  tripod 
charcoal-pan.  On  this  rests  a  metal  bowl,  over  which  he  is  holding  a  ladle, 
while  his  other  hand  works  the  bellows  that  stands  to  the  right.  On  the 
ground,  to  the  left,  lies  a  box  of  tools;  and  various  articles,  needing  repair, 
are  strewn  on  the  right.  A  sack  of  charcoal  stands  behind  the  bellows.  Let- 
tered on  the  van  is  the  announcement  of  his  trade :  "  Etameur." 
Signed  at  the  left:     "L.  Lhermitte." 

Crayon.     H.  1 7 J  in.     W.  15  in. 

T  r\  r\  ->  WOODCUTTER.  A  strongly  built  man,  bald  but  with  a  mous- 
*■  ^^J)  tacheand  beard,  sitswith  an  axe  between  his  kneesontheend  of  the 
section  of  a  tree-trunk,  that  extends  back  from  the  right  diagonally.  He  has 
been  squaring  the  side,  and  the  chopped  fragments  strew  the  ground.  While 
he  turns  his  face  slightly  to  the  right,  his  body  is  three  quarters  shown,  front- 
ing towards  the  left,  where  lies  another  trunk,  already  cleaned  and  squared. 

126 


MODERN    PAINTINGS 


Behind  him  an  oak  and  a  beech  stand  out  prominently  from  a  mass  of  trees. 
The  land  rises  on  the  left  to  a  dark  horizon  against  a  small  space  of  light  sky. 
Signed  at  the  left :     "  L.  Lhermitte." 

Crayon.     H.  i8j  in.     W.  24  in. 


1024 


THE  BATHING  PLACE.     A  meadow  of  lush,  green  grass  slopes 


down  from  the  left  to  a  river,  which  reflects  the  brilliant  blue  of 
the  sky.  Near  the  reedy  bank,  knee  deep  in  the  water,  stands  a  girl  in  a  blue 
and  buflf  striped  bathing  dress.  She  is  holding  out  her  hands  for  a  baby,  whose 
naked  body  is  being  held  up  in  the  air  by  a  woman  on  the  bank.  Behind  her, 
watching  the  child,  is  another  girl  holding  a  towel,  while  a  boy  sits  at  her 
feet,  pulling  on  his  shirt,  and  a  second  one,  nearer  to  the  water,  is  drying 
himself.  A  little  farther  back  a  boy  in  bathing  drawers  stands  on  a  spit 
of  ground,  watching  two  others  in  the  water.  The  background  of  the  scene 
is  a  sunny  hill  with  red  roofs  at  its  base,  straggling  towards  a  village  with  a 
spire.  On  the  top  of  the  hill,  at  the  left,  stands  a  mossy  tree. 
Signed  at  the  left:     "L.  Lhermitte,  1889." 

Pastel.     H.  32!  in.     W.  42]  in. 

ROCKY  CLIFFS  AND  SEA.  Rocks  rise  on  the  left,  formed  of 
A  {-J  <-^  j  a  compact  mass  of  vertical  piers,  each  built  up  of  horizon- 
tal strata,  worn  by  time  and  tide  until  their  surfaces  are  corrugated,  so  that 
each  resembles  a  huge  concertina,  drawn  up.  The  base  on  which  they  stand 
juts  to  the  right,  showing  a  wedge  of  dark  grey  sea,  beyond  which  is  a  rectangle 
of  whitish  grey  sky.  The  rectangular  foreground  is  divided  diagonally  into  a 
triangle  of  water  and  one  of  tumbled  boulders. 
Signed  at  the  left :     "  L.  Lhermitte." 

Crayon.     H.  1  3-i  in.     W.  22!  in. 


LUDWIG  LOFFTZ 

BORN  IN   1845 

■w  f\r\{r\    INTERIOR.     Somewhat  after  the  manner  of  Pieter  de  Hooch, 

1  yJ^yj  the  composition  shows  a  front  room,  opening  through  a  door  at 

the  back  into  a  little  vestibule,  beyond  which  through  another  door  is  seen 

a  bit  of  courtyard,  with  a  barrel,  flowers  in  pots  and  a  long-stemmed  rose 

bush.     On  the  left  of  the  front  room,  beside  a  mullioned  window,  with  one  of 

127 


MODERN    PAINTINGS 

the  lower  casements  open,  sits  a  lady,  engaged  in  needle  work.  Her  brown 
hair,  neatly  brushed  back  from  her  fresh-coloured  face,  is  confined  by  a  white 
cap.  A  plain  linen  kerchief  is  pinned  round  her  neck,  the  ends  falling  in  a 
point  over  the  black  velvet  body.  The  white  material,  on  which  she  is 
working,  is  wrapped  round  a  red  pad  that  lies  on  the  lap  of  her  black  skirt. 
A  basket,  containing  other  linen  articles,  stands  to  the  right  of  her  on  the  floor, 
while,  about  the  centre,  is  a  black  oak  stool  with  a  green  velvet  cushion  on  the 
top.  Over  the  choicely  framed  doorway  at  the  back  hangs  a  shelf,  on  which 
rest  two  ginger  jars  with  a  dish  in  the  centre. 
Signed  and  dated  at  the  right:     "  L.  Lofftz,  Miinchen,  1886." 

H.  32!  in.     W.  27!  in. 

EDOUARD  MANET 
1833-1883 

p.^^7  ALABAMA  AND  KEARSARGE.  The  sinking  of  the  Con- 
*  ^J  <£  J  federate  barque-rigged  steam-cruiser,  Alabama,  by  the  United 
States  vessel  Kearsarge,  outside  of  Cherbourg  harbour  in  1864,  forms  the  sub- 
ject of  the  picture.  The  Alabama  is  represented  high  up  in  the  centre  of  the 
composition,  settling  by  her  stern,  while  the  steam  and  smoke  from  her  flooded 
engine-room  curls  in  a  canopy  about  the  top  of  her  masts  and  funnel.  A  boat 
is  alongside,  taking  off  the  crew.  Farther  back  to  the  right  appears  the 
Kearsarge,  standing  by;  while  on  the  left  of  the  broad  stretch  of  water  in  the 
foreground,  a  sailboat,  steered  by  a  man  in  shirtsleeves  and  a  tall  black  hat,  is 
pointing  for  the  wreck.  She  flies  the  French  tricolor  and,  from  her  foremast, 
the  white  flag  edged  with  blue  of  the  pilot  service.  A  rowboat  trails  at  her 
stern.  The  various  craft  form  dark  masses  on  the  expanse  of  sea,  which  in 
front  is  greenish  blue  and  drab,  but  grows  greyer  as  it  recedes  to  the  horizon. 
Above  this  the  sky  is  turbid  with  dull  grey  smoke  and  vapour. 
Signed  at  the  right:     "Manet." 

H.  53$  in.     W.  50  in. 

PROSPER  MARILHAT 
181 1 — 1 847 

O   ORIENTAL  CARAVANSERAI.     In  the  centre  of  the  composi- 

yyJ-^'O   tion  is  a  white  rectangular  building,  crowned  with  a  ribbed  dome, 

and  adjoining  it  are  other  white  structures  that  stretch  back  to  a  considerable 

128 


MODERN    PAINTINGS 

distance.  Behind  this  mass  lies  a  screen  of  green,  yellow  and  golden  foliage, 
extending  almost  across  the  middle  distance.  Soaring  above  it,  over  the 
centre,  is  a  date-palm.  In  the  doorway  of  the  front  building,  under  theshadow 
of  a  projecting  roof,  sits  a  white-robed  figure.  Outside,  to  the  right,  beside 
a  recumbent  camel,  stand  two  more,  with  riders  on  their  backs.  Farther 
off,  on  this  side,  is  another  group  of  three  camels.  In  the  foreground,  which 
is  lower  than  the  spot  on  which  the  building  stands,  a  mounted  camel  stands 
between  two  that  are  lying  down. 
Signed  at  the  left :     "  Marilhat." 

H.  iof  in.     W.  i6|  in. 


JACOB   MARIS 
.    i 837- i 899 

TOOn  N1GHTLANDSCAPE  WITH  HORSEMAN.  A  rim  of  yellow 
7  and  reddish  light  upon  the  horizon  shows  where  the  sun  has  gone 
down,  leaving  behind  only  the  faint  luminousness  of  a  grey  sky.  In  the  gloom 
of  the  foreground,  upon  rising  ground  stands  a  grey  horse,  ridden  by  a  man  in  a 
dull  olive  coloured  suit.  Dimly  seen  and  motionless,  he  is  gazing  down  into 
the  hollow  beneath  him,  where  a  road,  faintly  illuminated  by  the  uncertain 
light,  winds  between  meadows  that  are  slumbering  in  shadow.  The  scene  is 
impressive  with  the  solemnity  of  night  and  silence,  amid  which  the  man  and  his 
horse  loom  like  spectres. 

H.  18  in.     W.  29I  in. 

T  r\  ~>  r\  DUTCH  CANAL.  We  face  the  straight  vista  of  a  canal,  crossed 
'  ^  J?  ^  a  little  way  back  by  a  white  wooden  bridge,  resting  upon  pieis  of 
solid  purplish  brown  masonry.  From  the  left  of  the  foreground  a  path 
ascends,  up  which  is  walking  a  girl  in  black  dress  and  white  cap.  On  her 
shoulders  rests  a  blue  and  white  yoke  from  which  two  tubs  of  the  same  colour 
are  suspended.  At  the  top  of  the  ascent,  beyond  the  bridge,  is  the  dull  red 
path  of  a  house,  beyond  which  stands  a  larger  one  of  purplish  brick,  with 
gabled  front  and  sides,  backed  by  large  trees.  From  this  point  onward  the 
houses  that  line  the  canal  are  framed  by  the  bridge,  in  a  long  perspective 
terminated  by  a  windmill.  The  stretch  of  water  is  interrupted  half-way  by 
two  boats,  and  again  near  the  bridge  by  two  vessels  with  masts,  from  one  of 
which  flutters  a  red  pennon.     The  right  of  the  foreground  is  closed  in  with  a 

129 


MODERN    PAINTINGS 

building  that  has  a  large  brown  roof  and  two  dormer  windows.     Down  below 
in  the  bow  of  a  barge,  a  man  in  a  blue  coat  sits,  filling  his  clay  pipe.     The 
colours  throughout  are  cool  and  strong. 
Signed  and  dated  at  the  left:     "J.  Maris,  1872." 

H.  31^  in.     W.  57  in. 

GREY  LANDSCAPE  WITH  COWS.  Against  the  creamy  white 
1  W  j}  1  sky  there  extends  in  the  middle  distance  a  screen  of  almost  leafless 
trees,  above  which  in  the  left  centre  rise  two  fair-sized  oaks  with  grey  branches 
and  faint  smoke-coloured  foliage.  Beneath  them  a  white  cow  catches  the 
light.  To  the  left  of  her  is  a  dun  cow,  and  scattered  towards  the  right  are  a 
black,  a  dun,  a  white,  and  at  some  distance  off  another  black  one.  A  soft 
grey  green  meadow  stretches  to  the  foreground,  where  the  olive  green  shadows 
on  a  little  pool  are  veined  horizontally  with  grey. 
Signed  at  the  right:     "J.  Maris." 

H.  5I  in.     W.  8J  in. 

A  CEMETERY— TWILIGHT.  In  the  dim  light,  a  woman  in 
1  \J  J  ^  black,  holding  a  baby  to  her  breast,  stands  facing  the  entrance  to 
a  mausoleum,  approached  by  three  steps,  on  the  top  one  of  which  kneels  an 
older  child.  All  that  is  seen  of  the  building  is  the  side  of  a  portico,  surmounted 
by  a  cross;  and  the  child  and  woman  are  also  seen  in  profile;  the  former  dressed 
in  a  red  skirt,  dull  bluish  red  bodice  and  a  white  cap,  while  the  woman's  head 
is  covered  with  a  shawl  that  permits  a  little  of  her  white  cap  to  be  visible. 
Ranged  behind  the  figures  are  monuments  and  vaults,  interspersed  with 
trees,  while  in  the  distance,  as  if  in  contrast  to  the  abodes  of  the  dead,  appears 
a  dark  silhouette  of  some  of  the  houses  of  the  living. 
Signed  and  dated  at  the  right:     "J.  Maris,  1867." 

H.  22  in.     W.  155  in. 


MATTHEW  MARIS 

BORN  IN    1835 

HEADOFAGIRL.     Full  face,  but  for  a  little  inclination  to  the 

1  yJ  j  j   left,  a  girl's  head  and  bust  are  seen  against  a  dark  background.  A 

grey  veil  partly  covers  her  blonde  hair;  the  eyes  are  blue,  and  the  cheeks  and 

130 


MODERN    PAINTINGS 

lips  suffused  with  rose,  while  the  rest  of  the  face  is  ivory.  All  these  hues,  how 
ever,  are  seen  through  an  enveloping  atmosphere,  which  renders  them  but 
faint  suggestions  of  colour  and  gives  to  the  extraordinary  repose  of  the  face 
an  expression  quite  unearthly. 

H.  2 1 1  in.     W.  16  in. 


WILLEM  JOHANNES  MARTENS 
i 8 38- i 895 

.  _  _  .  VENETIAN  SCENE.  From  a  window,  overlooking  a  canal,  a 
1  ^  j  ^  lady  leans  out,  holding  a  child  that  points  down  to  its  little  boat 
sailing  on  the  water.  A  spray  of  white  roses  is  fastened  in  her  blonde  hair, 
and  her  dress  is  of  grey  and  pale  blue  stripes,  while  the  child's  rosy  face  is 
encircled  with  a  white  cap  and  its  chubby  arms  emerge  from  pink  sleeves. 
The  gaiety  of  this  upper  part  of  the  picture  is  enhanced  by  the  red  shutters  of 
the  windows.  The  masonry  below  the  latter  is  interrupted  by  a  circular 
opening,  decorated  with  a  Gothic  quatrefoil.  In  the  water  stands  a  post, 
painted  with  diagonal  bands  of  green  and  buff,  to  which  the  black  prow  of  a 
gondola  is  fastened. 
Signed  on  the  wall  at  right  above  the  prow:     "W.  J.  Martens,  Venise." 

Watercolour.     H.  27!  in.     W.  9  in. 


HENRI    MARTIN 

BORN  IN    i860 

^  SALOME.  Framed  with  a  bushy  maze  of  black  hair,  the  tawny 
1  ^  j  )  face  is  turned  full  upon  us,  the  large  mouth  opened  with  a  smile 
that  shows  the  glistening  white  teeth.  The  head  is  tilted  back  slightly,  as 
the  chin  rests  upon  the  left  hand,  the  elbow  of  which  is  supported  on  the  knee. 
The  body,  seen  to  a  little  below  the  waist,  is  in  profile,  fronting  to  the  right. 
It  is  draped  in  a  white  lace  shawl  that  leaves  the  large  round  boss  of  the 
woman's  shoulder  bare.  A  coral  bracelet,  formed  of  an  interlaced  design  with 
little  dripping  pendants,  adorns  her  left  arm. 
Signed  at  the  top  left:     "Henri  Martin,  '87." 

H.  25  in.     W.  21  in. 

131 


MODERN    PAINTINGS 

ANTON  MAUVE 
i 836-1 888 

_  _  _  /"  A  GOOSE-G I RL.  The  high  wooden  gate  of  a  yard  is  open  and  a 
1  ^J/  ^  littlegirlstandswithherbacktoit.lookingoutintothesunnyorch- 
ard  beyond.  She  is  dressed  in  a  slaty  coloured  cap,  long  greenish  blue  apron, 
brown  skirt,  blue  stockings,  and  wooden  shoes.  In  her  hand,  extended  behind 
her,  she  holds  a  thick  stick.  Wine  coloured  shadows  play  on  her  costume  and 
on  the  door  behind  her.  The  edge  of  the  other  half  of  the  gate  just  shows  on 
the  left. 
Signed  at  the  right :     "A.M." 

H.  18  in.     W.  13!  in. 

~  -  ,_  LANDSCAPE  WITH  COW.  A  cow  stands  facing  to  the  right, 
*■  ^J)  /  where  her  body  throws  a  shadow  on  a  'Jttle  bunch  of  greenery  with 
a  white  flower.  She  is  white  with  small  red  patches  on  the  stern,  and  flank,  and 
a  narrow  strip  of  red  under  the  ridge  of  her  back,  while  her  neck  and  cheek  are 
almost  entirely  red.  The  light  glints  upon  the  edges  of  her  hind  legs,  her 
left  front  leg,  and  along  the  top  of  her  back,  finishing  with  a  gleam  on  her 
right  horn.  In  the  middle  distance  of  the  meadow  appear  two  more  cows,  one 
with  a  white  face,  and  a  boy  in  a  white  shirt.  Two  haystacks  are  discernible 
in  the  violet  shadow  that  crosses  the  horizon,  below  a  slaty  sky  in  which  four 
white  gulls  are  wheeling. 
Signed  at  the  left :     "A.  Mauve." 

H.  8  in.     W.  11  in. 


GABRIEL  MAX 

BORN  IN    1840 

_  Q  REVERIE.  With  fingers  entwined  and  one  arm  resting  on  the 
A  {-)  J)  (-}  base  of  a  column,  while  a  music  book  lies  open  beside  a  white  rose 
on  the  balustrade,  a  lady  stands  wrapt  in  meditation.  A  pearl  chain  and 
jewel  adorn  her  auburn  gold  hair,  which  is  loosely  coiled  at  the  back  of  her 
neck.  A  white  muslin  collar,  fastened  with  a  gold  maltese  cross,  falls  in  two 
long  points  over  a  gown  of  the  hue  of  faded  cinnamon,  with  straps  of  the  same 
material  confining  the  full  lawn  sleeves.     The  right  side  of  the  picture  is  closed 

132 


MODERN    PAINTINGS 


in  with  dark  green  foliage,  but  towards  the  centre  appears  a  glimpse  of  dis- 
tant bluish  hills,  lying  under  a  sunset  sky,  streaked  with  rose  and  grey. 
Signed  at  the  right:     "Gab.  Max." 

H.  1  3I  in.     W.  iOj  in. 


ERNEST  MEISSONIER 
1815-1891 

T  r\  *>  r\  THE  SE,NE  AT  POISSY.  In  the  distance  on  the  right,  a  man 
*  ^  J  *-)  on  horseback  is  approaching  along  the  towing  path  that,  bordered 
with  light-stemmed  trees,  extends  direct  to  the  front.  Here  a  path  de- 
scends the  steep  bank  to  the  river's  edge  where  three  boats  are  moored.  The 
white  water  stretches  to  a  steely  grey  under  the  shadow  of  the  opposite  bank. 
Some  distance  back  on  this  side  a  large  chateau  appears  among  trees  that 
nestle  at  the  foot  of  a  hill.  It  was  at  Poissy  that  Meissonier  lived. 
Signed  and  dated  at  the  right:     "E.  Meissonier,  Poissy,  1884." 

H.  13!  in.     W.  19!  in. 


VICTOR  LOUIS  METTLING 

1 847- 1 904 

T  f\  A  C\  W0MAN  W1TH  BOWL.  In  a  kitchen,  with  dim  brownish  walls, 
*■  *<J l^*<J  a  woman,  her  back  to  a  narrow  window  on  the  left,  is  seated  on  a 
chicken  crate,  holding  on  her  lap  a  white  bowl, decorated  with  a  red  flower  and 
a  sprig  of  green.  Over  her  drab  skirt  she  wears  a  man's  coat,  olive  green  in 
colour,  the  flaps  of  which  are  buttoned  under  her  chin.  She  turns  to  the 
front  a  face,  ruddy  and  wrinkled  as  a  winter  apple;  and  touches  of  red  and 
sky  blue  show  under  the  drab  handkerchief  that  covers  her  head.  Near 
her  are  a  yellow  bowl,  a  besom-broom,  and  a  bright  green  earthenware  jar 
with  handle  and  spout.  On  the  right  of  the  room,  near  a  brown  bureau,  a 
copper  bowl  with  a  high  lid  stands  on  the  floor. 
Signed  at  the  left :     "V.  L.  Mettling." 

H.    14  in.     W.  17  in. 

133 


MODERN    PAINTINGS 

AUGUST    EDUARD  NICOLAUS  MEYER,  called  CLAUS  MEYER 

BORN   IN    1856 

MEDITATION.  On  a  bench  against  the  wall  at  the  back  of  the 
1  ^4  1  composition  is  seated  a  nun  in  white  head-dress  and  black  habit, 
her  hands  folded  on  her  lap.  In  the  wall  to  her  right  is  a  window,  on  each 
side  of  which  a  column  of  Romanesque  design  supports  the  vaulting  of  the 
ceiling.  On  this  left  side  of  the  scene,  nearer  to  the  front,  is  a  little  altar, 
approached  by  two  steps  and  covered  with  a  white  linen  cloth.  Opposite  to 
it,  on  the  right,  is  a  pillar,  faced  on  the  front  and  left  sides  with  tall  standing 
figures,  carved  in  wood.  Of  the  one  in  front  there  is  little  visible  besides  the 
head,  which  appears  to  be  that  of  a  woman.  But  the  figure  in  profile  is  seen 
cap  a  pie,  in  full  armour,  with  a  round  helmet  fitting  tightly  over  the  long  hair. 
It  holds  a  rosary,  and  at  its  feet  is  an  escutcheon. 
Signed  and  dated  at  the  right:     "Claus  Meyer,  '85." 

Panel.     H.  io|  in.     W.  7§  in. 

GEORGES  MICHEL 
1 763-1843 

_  _  .  _  LANDSCAPE.  The  right  half  of  the  composition  is  occupied  by 
A  WZj.^  an  elevation,  on  the  summit  of  which,  flanked  by  trees  on  the  right, 
stretch  the  brown  walls,  pierced  with  a  row  of  small  windows,  and  the  long 
slate  roof  of  a  chateau,  terminating  in  a  tower  with  conical  roof.  It  is  suc- 
ceeded, after  a  short  interval  by  a  rectangular  building  attached  to  a  high 
square-topped  tower.  These  are  on  a  lower  level  than  the  chateau,  standing 
on  the  brink,  whence  the  ground, covered  with  trees,  slides  rapidly  to  the  plain 
where  a  distant  hill  is  visible.  Over  this  left  side  hangs  a  heavy  leaden  cloud; 
the  rest  of  the  sky  being  of  the  hue  of  old  ivory.  The  elevation  in  front  de- 
scends precipitously  ;  its  rich  greens  and  browns  being  intersected  by  two 
silver  threads  of  water. 

H.  20  in.     W.  27I  in. 

JEAN    FRANCOIS   MILLET 
1814-1875 

T   „     .  _    NOONDAY  REST.     On  the  right  of  the  composition  a  man  and 

*■  ^  ^\  J)    two  women  are  taking  their  ease  under  the  shade,  thrown  by  a 

clump  of  thin-stemmed  trees.     The  women,  one  in  a  pink,  the  other  in  a  blue 

134 


MODERN    PAINTINGS 

sunbonnet,  sit  leaning  towards  each  other  and  appear  to  be  singing.  The  man 
is  stretched  on  his  stomach,  one  barefoot  raised  in  the  air,  his  head  supported 
by  his  left  hand.  Three  forks  lie  in  the  grass  beside  them.  To  the  left  of  the 
group  is  an  open  reach  of  fields,  patched  with  the  green  and  yellow  of  vegeta- 
tion and  the  brown  of  soil,  that  extends  to  some  trees  which  form  a  grey  sil- 
houette against  the  vaporous  warmth  of  a  creamy  sky. 
Signed  at  the  right:     "J.  F.  Millet." 

H.  of  in.     W.  14  in. 

T  r\  A  A  ^  WOODMAN.  Standing  on  a  prostrate  tree  trunk,  his  figure 
*  ^'T-  l  seen  m  Pr°fi'e  facing  to  the  right,  a  woodman  is  raising  his  axe 
to  chop  off  the  bark.  He  wears  a  dark  greyish  drab  coat  and  a  brown  waistcoat 
over  a  white  shirt ;  his  bare  head  showing  a  shock  of  reddish  brown  hair.  The 
foreground  merges  into  a  stretch  of  olive  green  pasture  that  ascends  on  the 
right  to  a  knoll,  where  small  trees  are  indicated,  bluish  green  against  the  rosy 
cream  of  the  sky. 
Signed  at  the  left:     "J.  F.  M." 

H.  16  in.     W.  I2j  in. 

T  „  .  „  GROUCHY.  From  elevated  ground  in  front,  where  goats  are 
1  ^ ^\  J  feeding,  the  view  of  a  hollow  between  hills,  showing  in  the  dis- 
tance a  triangular  glimpse  of  the  sea  spreads  below.  Lower  still  are 
the  tree  tops  of  a  wood,  winding  like  a  colossal  caterpillar.  Near  the  farther 
end  of  it  is  a  pale  green  meadow,  walled  in,  which  forms  a  sort  of  nucleus  from 
which  the  amphitheatre  of  hills  rise.  That  on  the  left  is  in  shadow,  but  the 
one  on  the  right,  which  is  intersected  by  rude  stone  walls  and  by  nature's 
outcroppings  of  rock  strata,  is  illumined  with  pale  light.  At  the  end  of  the 
amphitheatre  rises  a  distinct  peak,  which  shows  against  the  sea. 
Signed  at  the  right:     "J.  F.  Millet." 

Pastel.     H.  i2§  in.     W.  17!  in. 

T  r\  A  (r\  GOAT  GIRL  SPINNING.  A  girl  stands,  spinning  yarn,  while 
1  WZJ.U  her  goats  feed  on  the  hill  slopes  behind  her.  Her  figure  is 
shown  three-quarters  to  the  front,  the  left  leg  advanced,  the  carriage  supple 
and  erect.  The  head,  however,  slightly  bowed,  is  seen  in  profile,  facing  to  the 
right;  the  shadow  from  a  tall  straw  hat  falls  over  the  eyes.  The  distaff 
being  held  under  her  left  armpit,  her  left  hand  feeds  the  wool  to  the  thread, 
which  crosses  her  body  to  the  bobbin  which  she  holds  with  arm  extended  down- 

'35 


MODERN    PAINTINGS 

ward,  in  her  other  hand.     She  wears  a  lavender  shawl  pinned  across  the  bosom 
of  her  coarse  white  woolen  dress  and  a  pink  apron  tucked  up  to  the  waist. 
The  same  subject  has  served  the  artist  for  a  lithograph. 
Signed  at  the  right:     "J.  F.  Millet." 

Pastel.     H.  36  in.     W.  2if  in. 

T  r\  A  *~7  MARINE.  Coming  towards  us  is  a  two-masted  fishing  smack, 
*-^^\  /  under  full  sail,  headed  for  the  right  of  the  foreground,  so  that  her 
hull  is  three-quarters  visible.  On  the  uneasy  swell  of  the  sea,  she  kicks  up 
her  stern,  while  her  dipping  bow  throws  up  a  fluster  of  foam  that  streams 
curdling  along  her  brown  side.  Except  in  the  shadow  of  her  hull,  the  water 
is  a  greenish  grey,  tinged  in  parts  with  amber.  Over  the  dark  horizon  appears 
a  patch  of  white  cloud  directly  in  line  with  the  pointing  of  the  vessel's  stern, 
while  overhead  is  a  mass  of  white,  pierced  on  the  left  by  a  ragged  hole,  and 
farther  to  the  right  by  a  winding  rent,  both  of  which  reveal  the  darkness  of  the 
under  sky. 

Signed  at  the  right :     "J.  F.  Millet." 
H.  28!  in.     W.  36*  in. 

T  r\  A  Q  TWO  WOMEN  AT  A  TUB.  Two  women  are  washing  linen  in 
1  WZ|.  O  a  large  tub  which  rests  on  the  ground  in  a  backyard.  The  older 
one,  whose  ruddy  face  is  framed  in  a  white  shawl  that  lies  over  a  blue  cap, 
stands  facing  us  on  the  opposite  side  of  the  tub,  stooping  as  she  works;  while 
her  companion,  who  wears  a  black  sunbonnet  edged  with  red,  is  seen  in  pro- 
file on  the  right.  Behind  them  the  weather-worn  plastered  wall  of  a  cot- 
tage shows  tones  of  drab,  cream,  and  red,  interrupted  on  the  left  by  a  bright 
pale  blue  shutter  and  at  the  top,  on  the  left,  by  a  curious  interlacing  of  vine- 
stems. 

H.  13  in.     W.  gf  in. 

T  d  A  f\  GIRL  RINSING  LINEN.  In  a  rude  kitchen  interior  a  girl  is 
n-  /  drawing  a  piece  of  linen  out  of  a  large  tub  that  is  raised  from  the 
floor  on  a  four-legged  support.  Her  figure  is  standing  three-quarters  towards 
us,  while  her  head,  wrapped  in  a  rose  coloured  handkerchief,  faces  to  the  left. 
A  washing  board  rests  against  the  inside  of  the  tub.  On  the  left  of  the  scene  a 
black  pot  is  steaming  on  the  top  of  a  stone  boiler;  while,  over  on  the  right,  a 
small  window  shows  a  glimpse  of  pale  blue.  The  dark  olive  walls,  and  raf- 
tered ceiling  are  in  shadow. 
Signed  at  the  right:     "J.  F.  Millet." 

W.  14!  in. 

.36 


1050 


MODERN    PAINTINGS 

CLAUDE  MONET 

BORN  IN   184O 

RAILROAD  BRIDGE.  Starting  high  up  from  a  precipitous  bank 
in  shadow  on  the  right,  a  tubular  steel  bridge  spansthe  river.form- 
ing  a  strong  diagonal  mass  downward  across  the  composition.  It  is  supported 
on  pairs  of  pillars,  braced  together  with  lattice  work.  Their  white  surfaces, 
warmed  by  rosy  light,  and  the  slaty  blue  structure  are  reflected  in  the  water, 
where  on  the  left  is  a  boat,  whose  white  sail  also  reflects  the  afternoon  glow. 
Above  the  edge  of  the  bridge  appear  the  tops  of  three  reddish  brown  cars  and 
the  engine's  boiler  and  smoke  stack,  from  which  emerges  a  wreath  of  rosy 
white  smoke.  This  is  blown  ahead  towards  the  opposite  end  of  the  bridge, 
where  a  bunch  of  greenery  is  visible. 
Signed  at  the  right:     "Claude  Monet." 

H.  21  in.     W.  28i  in. 

ARCHED  ROCKS,  ETRETAT.  Projecting  from  the  right  is  the 
'^)  '  portion  of  a  rocky  coast,  whose  formation  suggests  that  of  Belle 
Isle.  Near  the  foreground,  surmounting  a  base  that  is  prolonged  with  a  spur 
into  the  water,  rises  a  rectangular  mass;  its  bare  sides,  yellow  and  rosy,  its 
summit  covered  with  yellowish  olive  mossy  vegetation.  Back  of  this  the 
cliff  recedes  so  as  to  form  a  little  cove,  beyond  which  a  huge  wall  of  rock 
stretches  far  across  the  water,  pierced  by  a  natural  arch.  Immediately  under 
the  cliff  the  water  is  deep  blue,  while  out  in  the  open  it  is  greener,  and  in  the 
distance  blends  with  the  sky  in  a  shimmer  of  rosy  lavender  vapour.  Out  of 
the  water,  at  the  entrance  to  the  cove,  emerges  a  rock,  against  which  the 
water  plays  in  white  foam. 
Signed  and  dated  at  the  left:  "Claude  Monet,  '85." 

H.  25  in.     W.  31  in. 


ADOLPHE   MONTICELLI 
1 824- 1 886 

T   ,-.  _.  _    A  MASQUE.     Across  the  back  of  the  scene  extends  an  architect- 

'  ^  J  ■"   ural  screen  of  arches,  supported  on  columns  and  overgrown  at  the 

top  with  bushes.     Its  mass  of  dark  olive  hue,  relieved  with  pale  yellow  lights, 

cuts  strongly  against  a  dim  but  luminous  sky,  in  which  float  small  creamy 

'37 


MODERN    PAINTINGS 

clouds,  surmounted  by  a  scattered  volume  of  grey.  In  front  of  this  screen, 
an  irregular  row  of  figures  in  variously  brilliant  costumes,  stretches  across  the 
foreground.  In  the  centre  stands  a  man  with  white  hair  and  beard,  to  whom  a 
lady  on  the  left  seems  to  be  appealing.  On  the  other  side  of  him,  a  lady,  clad 
in  yellow,  waves  her  handkerchief  over  her  head,  as  she  holds  the  hand  of  a  girl, 
towards  whom  a  man,  who  has  the  aspect  of  a  Moor,  approaches,  hat  in  hand, 
bowing,  his  crimson  train  held  by  a  lady  in  blue.  On  the  left  of  the  line  of 
figures  a  man  in  red,  who  looks  like  a  huntsman,  is  tripping  forwards  to  a  flight 
of  steps,  where  stands  a  woman,  holding  up  a  glass. 
Signed  at  the  left;  "  Monticelli." 

H.  i4f  in.     W.  28!  in. 

T  „  _  _  NYMPHS  BATHING.  Between  the  over-shadowing  boughs 
*■  ^  J  J7  of  great  oaks,  the  light  sprinkles  variously  the  luxuriant  under 
growth  that  secludes  a  pool,  silvering  also  its  deep  blue  water.  Here  is  a  bevy 
of  nymphs,  bathing  or  reclining  on  the  bank;  on  •*  of  the  number  standing  in  the 
water,  with  her  hand  raised  above  her  head,  while  close  by  on  the  golden  mossy 
bank  are  figures  brilliant  in  geranium  and  blue.  In  the  distance  on  the  left 
is  a  peep  of  open  sunlight ;  and  on  the  right  a  path,  raised  high  above  the  pool, 
leads  back  to  a  similar  opening,  where  a  figure  is  visible. 

H.  26  in.     W.  38  in. 

ALFRED  PARSONS 

BORN  IN   1847 

RIVER  AND  TOWING  PATH.  Along  the  left  of  the  river, 
A  v^  j  *-\  which  flows  back  from  the  front  diagonally,  the  tow-path  is  raised 
upon  an  embankment,  skirting  the  lower  level  of  the  meadows.  These 
extend  back  to  some  buildings,  embowered  in  greenery,  above  which  spires 
up  a  line  of  poplars.  Nearer  to  the  water  appear  two  haystacks;  and  on  the 
tow-path  at  this  point  a  man  beside  a  white  horse,  which  is  pulling  a  barge. 
The  black  nose  of  the  latter  has  just  appeared  around  the  bend  of  the  river, 
that  here  disappears  to  the  left.  The  right  bank  is  fringed  with  young  wil- 
lows beyond  which  spreads  a  flat  pasture,  dotted  in  the  distance  with  cows. 
Near  the  front  are  two  pollard  willows.  The  dark  green  ripples  of  the  water 
bear  zigzag  reflections  of  the  white  balloons  of  cloud  that  float  above  the 
horizon  and  soar  to  right  and  left. 
Signed  at  the  right :     "A  Parsons." 

H.  24  in.     W.  57!  in. 

.38 


MODERN    PAINTINGS 

ALBERTO  PASINI 
i 826- 1 899 

T  „  _.  £.  A  RIVER  LANDSCAPE.  The  water  forms  an  irregular  horse- 
'  ^_)  )  shoe,  open  on  the  left.  On  this  side  of  the  picture,  in  the  fore- 
ground, a  golden  brown  bush  surmounts  a  little  knoll,  its  curiously  twisted 
narrow  form  cutting  the  water  and  the  opposite  bank.  Here,  to  the  right,  is 
a  clump  of  trees,  shaped  like  a  bee-hive,  and  farther  to  the  right  a  single  tree, 
the  shadows  of  both  being  reflected  in  the  water.  The  level  line  of  this  bank 
cuts  darkly  against  the  sky,  which,  occupying  half  the  picture,  is  of  sapphire 
blue,  with  a  layer  of  greenish  grey  clouds  over  white  ones.  On  the  right  of  the 
foreground,  that  is  broken  up  with  marsh  and  reeds,  a  woman  with  a  pole 
stands  upon  the  bank  beside  a  punt  in  which  another  figure  is  seated. 
Signed  at  the  right.     "A.  Pasini." 

H.  io|  in.     W.  135  in. 

TPkCT^  ORIENTAL  STREET  SCENE.  Glistening  white  against  a  sky 
1  \J  j  \J  of  robin's  egg  blue,  a  minaret  rears  its  slender  form  in  the  centre 
of  the  composition.  About  its  base  cluster  a  number  of  buildings,  whose 
creamy  coloured  masonry  glows  with  sunlight.  This  architectural  group  is 
seen  at  the  end  of  a  street  that  approaches  to  the  foreground.  The  houses 
on  the  left  are  entirely  in  shadow;  while  those  on  the  right  are  barred  with 
vertical  bands  of  alternate  shadow  and  light.  Conspicuous  in  one  of  these 
shadowed  sections  are  the  jalousies  that  project  boldly  from  above  two  win- 
dows. In  the  street  stand  three  pack-camels,  whose  passage  has  been  blocked 
by  a  conjuror's  performance  that  has  attracted  a  throng  of  people,  including  a 
pasha,  attended  by  a  servant,  carrying  rods,  and  another  with  a  fly-broom. 
Signed  at  the  right:     "A.  Pasini,  1867." 

H.  33!  in.     W.  25!  in. 

T  ~  _  ,_  ORIENTAL  LANDSCAPE.  At  the  back  of  a  broad  sunlit 
^y  /  square  a  minaret  spires  up  into  a  sky  of  pale  robin's  egg  blue. 
It  grows  out  of  a  mass  of  foliage,  on  the  left  of  which  is  a  square  mosque  with 
an  octagonal  lantern  dome.  The  precincts  are  enclosed  by  a  wall,  gleaming 
white  in  the  sunshine.  In  front  of  this  tranquil  and  delicately  coloured  mass 
is  a  scene  of  brightly  hued  animation  that  fills  the  foreground.  Here  a  number 
of  gaily  dressed  Orientals  throng  around  two  stalls,  shaded  with  umbrellas, 
where  piles  of  green,  red,  and  yellow  fruit  and  vegetables  are  exposed  for 

139 


MODERN    PAINTINGS 

sale.  At  the  back,  extending  to  the  right,  is  a  high  reddish  building  with 
projecting  eaves  and  buff  jalousies,  in  the  basement  of  which  is  a  sweetmeat 
store.  Among  the  figures,  grouped  at  this  point  in  the  immediate  front,  is  an 
old  man  riding  a  panniered  donkey.  Over  on  the  left,  a  man,  lying  beside  a 
heap  of  melons,  is  chaffering  with  two  men  on  horseback. 
Signed  at  the  right:     "A.  Pasini." 

H.  8f  in.     W.  i5i  in. 


JAMES  PATTERSON 

.  „  ^  Q  EARLY  EVENING.  Already  the  water  in  the  foreground  is 
I  yJj  O  darkened  and  the  green  of  the  opposite  bank  greyed  over  in  the 
gathering  twilight,  but  the  oaks  beyond,  while  shadowed  in  front  to  a  cool 
olive,  still  show  on  their  yellow  tops  the  reddening  warmth  of  the  sunset. 
Above  this  screen  of  foliage  the  sky  is  greening;  but,  higher  up,  the  creamy 
white  clouds  are  suffused  with  rose,  and  at  the  top,  on  each  side,  is  a  soft 
mass  of  rosy  drab.  There  is  a  little  triangle  of  tangled  bank  on  the  right  of 
the  foreground. 
Signed  and  dated  at  the  right:     "James  Patterson,  1890." 

H.  i7j  in.     W.  30  in. 


AUGUST  VON  PETTENKOFEN 
1821-1889 

.  _  _  A  MARKET.  A  little  way  back  from  the  front  of  the  drab  fore- 
1  \J  j  \jj  ground  stand  four  women  with  their  backs  to  us,  facing  a  crowd  of 
people  that  fill  the  middle  distance.  The  one  on  the  left  is  distinguished 
by  a  white  skirt,  the  central  by  a  brown  one,  while  the  two  on  the  right 
are  dressed,  respectively,  in  a  darker  and  a  lighter  blue.  Back  of  the  crowd 
is  a  suggestion  of  water,  beyond  which  appears  a  screen  of  hills,  the  declivi- 
ties and  sharp  peaks  of  which  are  a  warm  grey  colour,  softly  silhouetted  against 
a  sky  of  old  ivory  hue. 
Signed  at  the  right:     "A.  P." 

H.  5f  in.     W.  4|  in. 

140 


MODERN    PAINTINGS 

CAMILLE  PISSARRO 
1831-1903 

^  RIVER— EARLY  MORNING.  Intheearlymorningvapourthe 
i  WvJW  whole  scene  glimmers  like  that  of  a  phantom  world.  The  vista 
of  river  which  merges  into  the  sky  in  an  indefinable  horizon,  the  black  spots 
that  the  boats  make  upon  its  surface,  the  poplars  that  fringe  the  left  bank  and 
the  steep  slope  rising  behind  them,  as  well  as  the  tall  smokestack  on  the 
right  and  its  adjacent  mass  of  factory  or  warehouse  —  all  are  forms  without 
contours,  blurred  shapes  interwoven  of  many  colours,  laid  on,  without  admix- 
ture on  the  palette,  with  separate  touches  of  the  brush.  These  mingle  in 
the  eye  and  produce  the  sensation  of  vibration.  On  the  deck  of  the  boat  which 
is  moored  immediately  on  the  left  of  the  foreground,  two  figures  are  discern- 
ible, and  behind  them  appears  a  mast  with  a  blue  pennon.  In  a  boat,  some 
distance  back  in  midstream,  is  another  standing  figure.  In  the  same  plane  to 
the  right  lies  a  steam  tug,  and  two  more  craft  appear  on  the  right  of  the 
foreground.  From  the  smokestack  emerges  a  wreath  of  smoke,  the  grey 
mass  of  which  at  close  range  is  discovered  to  be  composed  of  pink,  blue, 
grey  and  pale  orange,  spreading  against  the  creamy  sky. 
Signed  and  dated  at  the  right:     "C.  Pissarro,  1888." 

H.  17J  in.     W.  2i|  in. 


FRANCISCO  PRADILLA 

BORN  IN    1847 

_  _  /"  T  A  LACKEY.  With  a  gesture  of  affected  elegance,  a  lackey 
1  v-'W  1  stands  in  front  of  a  mirror,  arranging  his  cravat.  His  sumptuous 
costume  includes  a  white  tie-wig,  breeches  and  coat  of  light  plum-coloured 
silk,  the  coat  profusely  embroidered  in  green  and  red  and  grey;  a  white  waist- 
coat, also  embroidered;  white  silk  stockings  and  buckle  shoes.  On  a  chair 
behind  him,  which  stands  against  a  darkish  grey  wall,  lies  a  dull  red  cloak. 
Beneath  the  mirror,  on  the  right,  is  a  gilded  console  table  on  which  are 
arranged  the  bust  of  a  woman,  two  gilt  candlesticks  and  a  bouquet  of  flowers 
Signed  at  the  right:  "Pradilla,  '93." 
Near  the  left  corner  appears:  "676." 

Watercolour.     H.  i2§  in.     W.  95  in. 

141 


MODERN    PAINTINGS 

PIERRE   PUVIS   DE   CHAVANNES 
i 826- i 898 

/"  _  LA  PAIX.  This  picture,  like  its  companion,  "La  Guerre,"  is  the 
A  WL>  Z,  original  for  which  the  artist  made  the  enlarged  decoration,  now 
in  the  Musee  de  Picardie,  in  Amiens.  1 1  represents  a  spot  of  peace  and  beauty, 
sheltered  by  trees  and  rocks,  covered  with  verdure,  on  the  border  of  a  lake. 
In  the  front  of  the  group  that  forms  a  pyramid  in  the  centre  of  the  composition, 
a  woman  nude  to  the  waist  is  milking  a  goat.  Bending  down  on  the  left  of 
her,  as  he  speaks,  is  a  youth,  clad  in  a  leopard's  skin,  while  on  her  right  the 
nude  figure  of  a  woman,  stands  with  her  back  to  us,  as  she  leans  down  slightly 
to  present  a  bunch  of  grapes  to  a  youth,  sitting  on  the  edge  of  the  water.  On 
the  extreme  left  of  the  group,  reclines  a  young  warrior  beside  his  shield  and 
helmet.  In  the  distance  youths  are  exercising  horses,  while  among  the  other 
figures  that  complete  the  composition  is  a  beautiful  figure  of  a  girl  on  the 
edge  of  the  water,  balancing  herself,  as  she  comes  forward  with  a  basket 
of  fruit.  The  border  has  a  ground  of  sage  green,  decorated  with  trophies  of 
leaves,  trumpets  and  quivers,  at  the  corners,  and  in  the  centres  of  the  top  and 
sides. 
Tl.  46  in.     W.  59  in. 


/  LA  GUERRE.     This  picture  and  its  companion,  "La  Paix,"  are 

1  WvJ  j)  the  originals  from  which  the  artist  made  the  enlarged  canvases  that 
decorate  the  Musee  de  Picardie,  in  Amiens.  It  contains  a  central  group  sur- 
mounted by  the  heads  of  three  war-horses,  whose  riders  are  sounding  through 
Roman  tubas  a  blast  of  triumph  over  their  victims.  The  corpse  of  one  of 
these  lies  in  the  foreground.  It  is  that  of  a  youth,  over  whom  kneel  in  anguish 
an  aged  man  with  his  face  in  his  hands,  and  a  woman  whose  grey  hair  is 
covered  by  a  veil.  Behind  appears  the  nude  back  of  another  kneeling  woman ; 
her  right  hand  held  over  her  face,  while  the  left  leans  against  the  white  drapery 
that  falls  from  the  waist  of  a  woman,  whose  nude  torso  is  bound  by  a  blue 
scarf  to  a  broken  tree.  Behind  her  and  farther  to  the  left  the  dead  bodies  of  a 
man  and  his  ox  lie  side  by  side.  In  the  distance  on  the  left,  an  armed  man  with 
a  red  drapery  floating  from  his  person  is  attacking  a  defenceless  woman. 
Back  of  this  scene  of  brutality  and  desolation  stretches  the  beauty  of  a  greenish 
white  sea  with  the  silhouettes  of  bluish  grey  promontories  against  a  rosy 
creamy  sky.     The  whole  is  enclosed  in  a  border,  whose  sage  green  ground  is 

142 


MODERN    PAINTINGS 

decorated  at  the  corners  and  the  centres  of  the  top  and  sides  with  festoons  of 
laurel  leaves  interspersed  with  trumpets  and  quivers. 

H.  46  in.     W.  59  in. 


JEAN    FRANCISQUE   RAFFAELLI 

BORN  IN   1845 

s  SNOWY  LANDSCAPE— WOMAN  AND  BOY.  On  the  right, 
1  wvyZj.  descending  the  steep  incline  of  a  snowy  road,  appears  a  woman 
holding  a  boy's  hand.  He  is  in  drab  knickerbockers  and  a  bluish  shirt,  with  a 
scarf  round  his  neck,  while  the  woman  wears  a  black  shawl,  pinned  over  a 
blue  and  white  striped  dress,  the  skirt  of  which  is  covered  by  a  greyish  white 
apron.  Over  her  right  arm  she  carries  a  two  handled  basket,  and  in  the  hand 
a  blue  and  white  teapot.  Behind  the  figures  the  road  winds  up  to  the  left, 
where  the  yellowish  red  roof  and  part  of  the  walls  of  a  cottage  show  above 
the  bank,  that  comes  sloping  down  until  in  the  foreground  on  the  left  it  drops 
abruptly  to  the  road.  Against  the  drab  sky  some  evergreen  bushes  appear  on 
the  right;  but  otherwise  the  colouring  of  the  landscape  is  chiefly  tones  of 
brown,  relieved  upon  the  bleak  whiteness  of  the  snow. 
Salon  Number:  "  1  160." 
Signed  at  the  right*:     "J.  F.  Raffaelli." 

H.  493  in.     W.  45  in. 

/'  PAINTER  AT  WORK  ON  A  PORTRAIT.  Thepainter  is  back 
y  \JyJj  to  us,  his  figure,  seen  as  far  as  the  waist,  close  against  the  canvas, 
while  he  turns  his  head  to  the  right  to  look  at  his  sitter.  Thus  the  drab- 
mouse-coloured  back  of  the  coat  and  the  right  sleeve  occupy  more  than  half  the 
composition.  The  head  is  covered  with  black  short,  shaggy  hair,  and  the 
profile  of  the  face  shows  a  pinkish  ear,  rather  sallow  cheek,  grizzly  whiskers 
and  moustache  and  a  strongly  indented  brow.  The  big  fat  hand,  supported 
by  a  mahl-stick,  is  brushing  in  the  edge  of  a  black  sleeve  on  the  canvas. 
The  figure  to  which  it  belongs  shows  in  the  right  upper  part  of  the  composition. 
It  is  that  of  a  man,  with  ruddy  brown  beard,  seen  ih  profile,  facing  to  the  left 
and  wearing  a  black  felt  hat.  As  he  gazes  over  a  yellow  wheat-field  towards 
some  distant  buildings,  he  seems  as  real  in  appearance  as  the  painter  himself. 
Signed  at  the  right:     "J.  F.  Raffaelli." 

H.28in.     W.  2of  in. 

143 


MODERN    PAINTINGS 

.  _  f  /"  COMRADES.  On  the  end  of  a  blue  bench  that  occupies  nearly 
1  v^  vj  v/  the  entire  width  of  the  foreground  two  men  are  seated  in  conversa- 
tion. The  one  on  the  right,  distinguished  by  a  grey  beard  and  blackmoustache, 
wears  a  black  woolen  cap,  drabbish  brown  coat  and  waistcoat  and  an  apron 
over  his  black  trousers.  He  grasps  an  umbrella,  planted  on  the  ground,  as  he 
turns  to  listen  to  his  companion.  The  latter,  a  powerfully  built  man  with 
grizzly  beard,  dressed  in  a  straw  hat,  brown  coat  and  dark  drab  trousers, 
is  about  to  fill  his  pipe.  They  seem  to  be  sitting  on  a  towpath,  for  behind  them 
appears  a  stretch  of  narrow  river,  with  three  sketchily  drawn  trees  on  the 
opposite  bank  and  the  suggestion  of  houses  that  may  be  the  outskirts  of  a 
town. 
Signed  at  the  left:     "J.  F.  Raffaelli." 

H.  14J  in.     W.  21  in. 

ALEXANDRE  GEORGES  HENRI  REGNAULT 
1 84 3- 1 87 1 

r  n  A  MOUNTAIN  ROAD.  An  oak,  on  the  left  of  the  foreground, 
1  WW  J  flings  its  shadow  across  a  roadway  that  mounts  directly  up,  yellow- 
ish white  in  the  sunlight.  The  light  also  strikes  a  rocky  bank  on  the  right, 
which  beginning  at  the  front  in  shadow,  enlivened  by  a  white  flowering  bush, 
shows  next  a  big  slaty  grey  boulder  and  then,  at  the  top,  a  clump  of  beech 
trees,  behind  which  the  roadway  disappears.  To  the  left  of  the  road,  where 
it  turns,  is  another  group  of  beech  trees,  standing  on  the  brink  of  the  ground, 
that  overlooks  a  valley  bounded  by  distant  green  mountains. 
Signed  at  the  right:     "H.  Regnault." 

H.  25  in.     W.  2o|  in. 

THEODULE   RIBOT 
1823-1891 

^fQ  A  BED  OF  CHRYSANTHEMUMS.  Beyond  a  strip  of  rich 
1  UUO  green  lawn  is  a  raised  bed,  filled  with  chrysanthemums,  their  leaves 
and  blossoms  showing  against  a  background  of  cool  greenery.  Conspicuous 
on  the  left  is  a  mass  of  chrome  yellow  blossoms,  while  some  in  the  centre  are 
a  brownish  crimson,  and  those  on  the  extreme  right  are  white. 
Signed  at  the  left :     "T.  Ribot." 

H.  14J  in.     W.  17!  in. 

144 


MODERN    PAINTINGS 

/^        THE  COOK.     A  cook  in  white  cap  and  apron  has  stepped  out  to 

A  v-JvJvJ   take  an  airing,  and  is  leaning  against  the  wall  of  a  house  on  the 

right  of  the  picture.     With  his  left  hand  resting  on  his  hip,  he  looks  down 

to  watch  the  behaviour  of  a  cat.     In  the  background  is  a  view  of  a  red  roof 

against  the  blue  sky. 

H.  1 8  in.     W.  i  3  in. 


GUSTAVE   RICARD 
i 82 3- i 872 

_  _  ft  r\  STILL  LIFE.  In  the  centre  of  the  composition  a  copper,  steel- 
1  W  y  W  lined  saucepan  is  tipped  forward  so  that  the  handle  rests  on  the 
dull  green  colouring  of  the  table  coth.  Beside  it  lies  a  wooden  spoon.  On  the 
right  of  this  central  feature  stands  an  old  fashioned  long-stemmed,  bedroom 
candlestick  of  brass,  stained  by  time.  A  short  candle  is  in  the  socket.  Op- 
posite, on  the  left  lies  a  bunch  of  three  white  onions,  their  stalks  twisted  into 
one  string.  Behind  these  objects  is  a  dark  golden  background. 
Signed  at  the  right:     "G.  R." 

H.  14!  in.     W.  17!  in. 


THEODORE    ROUSSEAU 
1812-1867 

T  C\n  T  0UTSKIRTS  0F  A  VILLAGE.  From  the  front  plane  the 
*  ^  j  '  ground  gradually  slopes  up,  its  yellowish  green  vegetation  inter- 
rupted on  the  right  by  two  rectangles  of  brown  earth.  A  little  way  back  near 
the  centre,  is  a  bunch  of  dark  green  plants,  to  the  left  of  which,  still  farther 
back  are  two  small  apple  trees,  beside  another  patch  of  brown  soil.  Beyond 
this  appears  a  red  cottage  with  slate  roof,  flanked  by  dark  olive  green  trees. 
These  are  part  of  a  row  which,  interspersed  with  five  other  cottages,  extends 
across  the  middle  distance.  Farther  back  rises  a  blue  and  grey  hill,  against 
a  creamy  grey  sky,  that  shows  a  patch  of  blue  over  the  centre  of  the  horizon 
and  towards  the  right  ascends  with  wisps  of  rosy  white  cloud  to  a  delicate  blue. 
Signed  at  the  left:     "Th.  Rousseau." 

H.  9I  in.     W.  I2§  in. 

'45 


MODERN    PAINTINGS 

T  ~  —  ^  SUNSET.  On  both  sides  of  the  foreground  are  rocky  banks  and 
1  ^  /  ^  trees;  the  latter,  on  the  left,  consisting  of  a  sturdy  trunk  with  a 
mass  of  foliage  and  a  slender  stem  that  leans  over  towards  the  centre.  Be- 
tween these  banks  spreads  a  stream,  which  winds  back  through  the  meadow- 
land  to  a  horizon  where  three  trimmed  poplars  rear  their  bushy  tops  against 
the  sky.  The  latter,  beginning  in  a  blood-red  glow,  becomes  yellower  over- 
head, passing  into  a  pale  greenish  blue,  flecked  with  wisps  of  cloud  that  form 
a  series  of  concentric  arcs,  whose  delicate  rosy  hue  cools  towards  the  zenith 
to  a  violet  grey.  The  white  cap  and  blouse  of  a  woman  and  her  red  skirt 
form  a  focus  point  of  brilliance  on  the  right  of  the  middle  distance. 

H.  iof  in.     W.  \6h  in. 

~  _  ^  EVENING  LANDSCAPE.  Near  the  centre  of  the  foreground  is 
A  v^  J  J7  a  boulder,  beside  which  two  slender  trees,  with  golden  brown  foli- 
age, form  a  V.  They  are  on  the  edge  of  a  pool  in  which  a  little  to  the  left, 
stands  a  white  horse,  drinking,  with  a  man  on  its  back,  while  behind  it  thehead, 
neck  and  legs  of  a  black  horse  are  dimly  visible.  The  scene  is  wrapped  in  twi- 
light, a  light  spot  on  the  horizon  marking  where  the  sun  has  gone  down.  Lying 
over  it  is  a  streak  of  hot  rose;  higher  up  a  layer  of  fleecy  rose,  followed  by  a 
rosy  suffusion,  then  higher  up  a  rosy  purple,  until  at  the  zenith  a  few  little 
white  clouds  float  in  the  grey  blue.  The  horizon  line  is  interrupted,  on  the 
right,  by  a  farmhouse  with  smoking  chimney;  and,  on  the  left,  by  a  loose 
clump  of  oak  trees,  standing  at  the  top  of  a  grassy  slope,  strewn  with  rocks. 
Signed  at  the  right:     "Th.  Rousseau." 

H.  6\  in.     W.  8f  in. 

n  OUTSKIRTS  OF  FOREST  WITH  POOL.  The  foreground 
*■  ^  J  £\  suggests  a  clearing  near  the  forest,  for  the  scene  is  broken  up  with 
tufts  of  undergrowth,  and  watery  swamp;  a  little,  ragged  edged  pool  occupying 
the  centre.  It  catches  some  of  the  light  from  a  sky  that,  grey  overhead,  is 
piled  below  with  whitish  grey  clouds.  Across  the  middle  distance  is  a  screen 
of  handsome  trees,  in  the  intervals  of  which  appear,  on  the  right  a  white-walled 
brown-roofed  cottage  with  smoking  chimney  and,  on  the  left,  a  white  wall; 
while  through  the  gap  in  the  centre  is  a  distant  view  of  pale  blue  hills. 

H.  6i  in.     W.  8  in. 


'£ 


^        A  MOUNTAIN  PATH.     In  this  very  early  example  of  the  artist 

1  ^  /  J    a  steep  slope  of  slaty  coloured  rocks,  interspersed  with  the  brown 

of  withered  ferns,  occupies  the  right.     At  its  top  rises  a  smooth  beech  trunk 

146 


MODERN    PAINTINGS 

with  two  spidery  branches,  meagerly  sprinkled  with  leaves,  extending  over  the 
path  that  ascends  from  the  left.  Behind  the  beech  spreads  a  bunch  of  green 
oak  foliage,  sprinkled  with  gold.  On  the  left  of  the  path  is  a  row  of  golden 
oaks,  between  the  trunks  of  which  one  looks  down  at  the  bushy  tops  of  other 
trees.  By  the  time,  however,  that  the  path  disappears  to  the  right,  there  is 
nothing  visible  beyond  but  the  open  expanse  of  white  sky,  with  grey  clouds 
floating  high,  and  a  patch  of  blue  at  the  top  on  the  right. 
Signed  on  a  stone  at  the  right:     "T.  R.  Oct.  1831." 

H.  15  in.     W.  22  in. 

T  f-^r-i (Z  ON  THE  SEINE.  Three  pairs  of  children  are  sporting  in  the 
1  w  y  W  foreground  of  swampy  meadow,  which  is  intersected  with  pools 
of  water.  It  appears  to  be  a  little  inlet  from  the  main  stream  which  appears 
in  the  middle  distance,  separated  from  where  the  children  play  by  a  bank 
that  juts  out  from  the  left.  Here  some  trees  close  in  the  scene,  and,  balancing 
these  on  the  right  of  the  composition,  is  another  clump  that  is  standing  almost 
in  the  water.  The  farther  bank  of  the  river,  which  stretches  horizontally  across 
the  scene,  is  richly  wooded.  Through  a  clearing  in  the  foliage,  near  the  centre, 
the  round  white  moon  has  just  risen  above  the  horizon. 
Signed  at  the  right:     "Th.  R." 

H.  15  in.     W.  2q|  in. 


PHILIPPE   ROUSSEAU 
1816-1887 

T  ^ ,-  _  GAME  AND  GUINEA  PIG.  At  the  left  of  the  composition  a 
*  ^/  /  guinea-pig  sits  up  on  its  haunches,  paws  to  the  mouth,  beside  a 
heap  of  game.  Just  in  front  of  it  lies  a  partridge,  breast  up;  while,  slung  by 
its  crimson  claw  is  one  of  three  birds  (the  others  lying  upon  the  table)  that 
have  bars  of  crimson  on  their  wings,  grey  ruff  feathers  around  the  throat, 
black  top-knots  and  a  white  stripe  across  the  beak.  Behind,  on  the  left, 
appears  the  upper  part  of  a  creamy  white  pitcher. 
Signed  and  dated  at  the  left :     "  Ph.  Rousseau,  '57." 

H.  i8|  in.     W.  23  in. 

i47 


MODERN    PAINTINGS 

SANTIAGO  RUSINOL 

BORN  ABOUT  187O 

T  r\*~I  Q  CAFE  INTERIOR.  The  scene  shows  an  outer  room,  opening 
*■  ^-J  J  O  through  a  door  and  window  into  an  inner  one  with  pale  bluish 
green  walls,  more  cheerfully  lighted.  On  the  left  side  of  the  outer  room  a  girl 
sits  with  her  back  to  the  wall,  resting  her  left  arm  on  a  table,  beside  a  tumbler, 
a  saucer  and  a  bottle  with  red  label.  Dressed  in  a  grey  skirt  and  drab  jacket 
that  shows  a  glimpse  of  lilac  waist,  with  a  black  feather  boa  round  her  neck, 
she  rests  one  hand  on  her  lap  and  looks  up  towards  the  ceiling  disconsolately. 
Another  woman,  with  her  back  to  the  table  and  hand  on  her  hip,  stands  look- 
ing through  the  doorway,  just  inside  of  which,  so  that  only  the  edge  of  his 
figure  is  seen  beyond  the  right  door-post,  stands  a  man.  Opposite  to  him 
another  man  is  seated  near  a  window,  with  his  elbow  on  a  table.  On  the 
right  of  the  composition,  seen  through  the  window,  appear  the  heads  and 
shoulders  of  two  other  figures. 
Signed  at  the  right:     "S.  Rusinol." 

H.  38!  in.    W.  3ifin. 

JOHN  S.  SARGENT 

BORN     IN     1856 

_  VENETIAN  INTERIOR.  A  boy,  with  a  deep  blue  drapery 
I  J  hanging  over  his  right  shoulder,  sits  in  a  lounging  position  in  the 
centre  of  the  composition,  with  his  left  elbow  resting  on  a  table.  On  the 
opposite  side  of  the  latter  a  gondolier,  in  a  white  jumper,  sits  reading  a  news- 
paper, a  blue  and  grey  pitcher  and  a  tumbler  beside  him.  Against  the  back 
wall  of  the  room  stands  a  dresser,  on  which  are  disposed  whitish-grey  pitch- 
ers, plates  and  bowls,  while  above  on  a  shelf  attached  to  the  wall  is  a  row 
of  white  bottles.  Higher  up,  on  a  shelf  against  the  adjacent  wall,  is  a  medley 
of  black  bottles  of  various  sizes  and  shapes.     A  lamp  hangs  from  the  ceiling. 

Watercolour.     H.  oj  in.     W.  13!  in. 

O  IN  THE  LUXEMBOURG  GARDENS.  The  scene  represents 
A  WOw  a  broad  stretch  of  gravel-walk,  backed  by  the  wall  and  balustrade 
of  a  terrace,  on  the  right  of  which  a  flight  of  steps  descends  to  where  a  portion 
of  the  basin  of  a  fountain  appears.  On  its  water  is  the  reflection  of  a  yellow 
harvest  moon  that  hangs  above  some  distant  trees  in  the  pale  lavender  sky. 
Prominent  among  the  figures  near  the  basin  is  a  man  in  black  who  stands 

148 


MODERN    PAINTINGS 

reading  a  newspaper.  Over  on  the  left,  in  the  foreground,  a  lady  and  gentle- 
man are  promenading,  her  arm  linked  in  his;  the  red  and  pale  violet  fan  that 
she  holds  in  this  hand  showing  against  his  black  suit.  He  carries  his  straw 
hat  down  beside  his  right  leg.  The  lady's  hat,  also  of  straw,  is  confined 
by  a  veil,  tied  under  the  chin.  She  wears  a  pinkish  mauve  gown,  the  skirt 
of  which  is  gathered  up  into  a  bunch  of  folds  by  her  left  hand.  Beyond  this 
couple,  to  the  left,  a  man  is  sitting  on  a  bench  beneath  the  terrace,  near  a  bed 
of  crimson  and  pink  flowers.  Other  flowers,  including  hollyhocks,  enliven  the 
back  of  the  scene. 
Signed  and  dated  at  the  right:     "John  S.  Sargent,  Paris,  1879." 

H.  24!  in.     W.  35§  in. 

LUCIEN    SIMON 

BORN  IN    1 86 1 

mO  CHRIST  PERFORMING  MIRACLES.  The  light  from  a  round 
*  ^  C^  1  moon  above  the  high  horizon  on  the  right  streams  across  the  steely 
grey  water  of  a  cove,  whose  shelving  sand  curves  inland  to  the  left  and  then 
cuts  across  the  foreground  to  the  right  corner.  Here  is  a  group  of  fisherfolk, 
whose  modern  clothes  are  in  strange  contrast  to  the  white  drapery  of  the 
Christ,  who  stands  to  the  right  of  them  with  his  hand  raised  in  blessing.  In 
front  of  Him,  huddled  on  a  barrow,  is  the  helpless  body  of  a  paralytic,  on  whose 
lap  a  kneeling  woman  bows  her  head.  Behind  these  figures,  a  youth  nude 
to  the  waist,  with  the  distraught  look  as  of  one  possessed,  is  being  supported  by 
a  comrade;  while  near  them  stands  a  dejected-looking  man  with  his  gaze 
fixed  eagerly  on  the  Christ.  A  sturdy  man  with  grizzly  beard,  in  a  brown 
cloak,  completes  the  group.  Farther  back,  along  the  sand,  appear  a  woman 
and  a  child  whom  a  fisherman  is  approaching,  and  beyond  him  a  brown  boat 
lies  half  out  of  the  water.  The  vista  of  sand  terminates  in  whitish  yellow 
cliffs. 
Signed  and  dated  at  the  left :     "  L.  Simon,  1894." 

H.  47!  in.     W.  54  in. 

ALFRED   SISLEY 
1 840- 1 899 

T  rk&  O    RIVER  SCENE  AND  BRIDGE.     The  river,  which  stretches 

I  w  (J  -Z    horizontally  across  the  foreground,  is  spanned  on  the  left  by  a  steel 

bridge,  supported  on  two  stone  piers,  followed  by  four  arches  on  the  farther 

•49 


MODERN    PAINTINGS 

bank.  The  latter  extends  to  the  right,  in  a  promenade  shadded  by  poplars, 
beyond  which  appear  various  buildings,  among  them,  one  on  the  extreme 
right  with  a  bright  red  roof,  and  a  church  nearer  to  the  centre  with  a  purplish 
red  roof  and  bell  turret.  The  water  in  front  is  mottled  with  reflections  of  the 
vari-coloured  objects  on  the  bank,  and  by  those  of  the  grey  blue  sky  that  is 
puffed  all  over  with  windy  wracks  of  white  cloud. 
Signed  at  the  right:     "Sisley." 

H.  2li 


1  in. 

W.  28§  in. 

ALFRED  STEVENS 
i 828- i 906 

T  r\Q  *>  AUTUMN  REVERIES.  The  composition  is  a  harmony  in 
*■  {-JO  }  brown.  Masses  of  golden  brown  foliage  occupy  the  background, 
interrupted  on  the  right  by  two  smooth  grey  trunks,  and  on  the  left  by  a 
slender  stem.  A  grey  stone  balustrade  separates  the  foreground,  where  a 
lady  stands  in  pensive  attitude,  her  chin  resting  on  her  right  hand,  which  has  a 
pearl  ring  on  the  third  finger,  while  round  the  wrist  is  a  gold  bracelet  with 
pink  and  dark  blue  stones.  The  other  arm,  laid  across  her  bosom,  holds  a 
book.  Her  costume,  of  fawn  colour,  suffused  in  parts  with  a  rosy  bloom  and 
creamy  in  the  high  lights,  consists  of  a  skirt,  looped  up  at  the  sides  and  flounced 
at  the  bottom,  and  a  long  jacket,  bordered  with  a  ruffled  edging.  Her  blonde 
hair,  falling  in  soft  waves  over  her  forehead,  is  gathered  into  a  mass  on  the 
crown  and  adorned  with  a  bunch  of  flowers  of  very  subdued  blue,  pink  and 
white  A  few  leaves  lie  scattered  round  her  feet. 
Signed  at  the  left:  "A  .  Stevens." 

H.  30 J  in.     W.  1  of  in. 


LEOPOLD   STEVENS 

Q  a  COAST  SCENE  AND  BUILDINGS.  From  the  summit  of  a 
1  vJO  Zj.  cliff,  on  the  right  of  the  foreground,  which  commands  the  view 
below,  a  path  leads  past  a  white  thatched  cottage,  beside  which  a  woman  in 
blue  is  standing,  to  a  high  wall.  This  is  part  of  an  enclosure,  in  which  appears 
a  group  of  buildings,  with  brown  and  slaty  roofs,  that  may  form  a  coastguard 
or  quarantine-station.  They  occupy  the  right  of  the  composition;  and  the 
cliff  on  which  they  stand  comes  sheer  down  to  the  sand.     This,  curving  round 

150 


MODERN    PAINTINGS 

from  the  right,  stretches  across  the  scene  in  a  stripe  that  divides  a  horse  shoe 
of  water  in  front  from  another  expanse  beyond.  Here  in  the  distance  appears 
an  island,  with  a  cluster  of  buildings,  surmounted  by  a  spire.  A  dull  purplish 
boat  floats  in  the  grey  water  of  the  foreground,  and  two  more  are  drawn  up  on 
the  sandy  spit. 
Signed  at  the  left:     "Leopold  Stevens." 

H.  14I  in.     W.  23!  in. 

-^Q^-    MOTHER  AND  BABY.     The  figures  are  seen  full-face  against  a 

*  ^^  j  drab  plaster  wall  on  the  right  of  which  hangs  a  coloured  print, 
representing  angels  hovering  over  a  ship  on  the  sea,  while  underneath  are 
verses.  The  woman  is  dressed  in  Breton  costume;  a  slaty  grey  dress  and  white 
apron,  and  a  stiff  white  cap,  embroidered  with  yellow,  fastened  by  strings, 
tied  in  a  bow  under  her  ear.  She  inclines  her  head  to  the  left,  and  the  strong, 
hard,  ruddy  features  present  a  striking  contrast  to  the  soft  brown  hair  and 
pale  rosy  face  of  the  child.  The  latter  is  held  up  on  the  mother's  lap,  directly 
in  front;  its  little  hands  resting  on  the  mother's  which  are  spread  tenderly 
over  its  waist.  The  child  is  swathed  in  a  greenish  grey  shawl  that  leaves 
visible  only  a  white  collar  and  dark  blue  sleeves. 

Signed  on  the  right,  up  the  side :     "  Leopold  Stevens." 

H.  255  in.     W.  19!  in. 

JOHN  M.  SWAN 

BORN  IN   185O 

_  ^Q  /  WILD  BOARS.  Four  wild  boars,  with  grizzly  grey  bodies,  and 
A  WO  \J  black  legs,  ears  and  snouts,  have  come  upon  a  champagne  bottle, 
lying  on  some  sand  at  the  edge  of  the  water.  They  are  drawn  up  in  line; 
three  of  them  facing  to  the  front,  while  one  on  the  extreme  right  has  turned 
round  and  is  rubbing  his  tusk  against  his  neighbour's.  The  foreground  is 
sprinkled  with  bits  of  golden-red  vegetation  and  some  tufts  of  tawny  yellow 
grass,  while  behind  the  beasts  is  an  indication  of  olive  green  foliage,  backed 
with  the  red-gold  tints  of  autumn. 
Signed  and  dated  at  the  left  of  centre:     "J.  M.  Swan,  1879." 

H.  4!  in.     W.  8|  in. 

T  /^\Q  r~i   TIGERS.     Two  tigers  are  lying  side  by  side;  their  bodies  slightly 

*  vJO  I  illuminated,  against  a  dark  background  of  murky  olive-green  hill- 
slope  and  steely  blue  sky.     The  one  in  front  is  extended  across  the  foreground ; 

151 


MODERN    PAINTINGS 

his  tail  lying  along  the  ground  towards  the  left  corner;  his  forepart  raised,  and 
the  head  facing  front.  The  full  face  also  of  the  other  one  is  seen  on  the  right; 
but  it  is  carried  low,  resting  on  the  right  paw,  the  neck  grandly  arched  above 
it,  the  left  paw  poised  at  one  side,  while  the  rest  of  the  body,  back  of  the 
shoulder,  disappears  behind  the  front  beast. 
Signed  at  the  left:     "J.  M.  Swan." 

H.  i6§  in.     W.  27iin. 

O  O  JAGUARS  AND  CROCODILE.  The  scene  shows  a  luxuriance 
1  wO  O  of  tropical  vegetation  growing  on  swampy  ground,  intersected  by 
pools.  Over  one  of  these,  on  the  right  of  the  foreground,  extends  a  fallen  tree. 
A  jaguar  is  stretched  along  it,  in  an  attitude  of  tense  muscular  action,  watching 
the  water.  Below  her,  on  the  bank  to  the  right,  are  her  two  cubs.  One  is 
quietly  lapping  the  water,  but  the  other  has  started  back  and  is  directing  its 
gaze  at  the  same  spot  that  rivets  the  mother's.  Here  appear  the  flat  head  and 
long  jaws  of  a  crocodile,  whose  body  becomes  discernible  in  the  shadow,  trail- 
ing directly  across  the  foreground. 
Signed  and  dated  at  the  left:     "John  M.  Swan,  1891 ." 

H.  17J  in.     W.  34!  in. 

O  LIONESS  AND  SNAKE.  Night  is  setting  down  over  the  hills 
1  v^O  (J  ancj  a  ijoness  has  come  down  to  drink  at  a  pool  that  occupies  the 
centre  of  the  foreground.  She  has  disturbed  a  large  snake  that  was  apparently 
slaking  its  fore  part  in  the  water,  for,  while  the  creature's  back  is  coiled 
convulsively  round  the  paw  of  the  lioness,  it  has  reared  its  head  out  of  the 
water,  and,  turning  back,  darts  its  long  tongue  at  the  intruder.  The  lioness 
recoils  in  angry  indecision;  her  head  low  to  the  ground,  her  right  foreleg  at  a 
sharp  angle,  supporting  her  weight,  and  the  back  curving  up  and  round  to  the 
right,  where  it  disappears  behind  a  rock. 
Signed  at  the  left:     "John  M.  Swan." 

H.  24  in.     W.  34  in. 


OCTAVE  TASSAERT 
1 800- 1 874 

FORLORN.     The  snowy  street  is  deserted,  save  for  two  figures, 

1  UUU  seated  on  a  doorstep  at  the  left.     The  one,  a  woman  in  a  bluish 

red  shawl,  with  hands  clasped  upon  her  white  apron,  has  closed  her  eyes  in 

152 


MODERN    PAINTINGS 

exhaustion,  while  near  her  lies  a  faggot  of  sticks  and  another  is  propped 
against  the  wall.     Nestling  up  to  her  is  a  plump  little  child  with  its  fists  held  to 
its  mouth.     Beyond  the  figures  a  portion  of  a  verandah  shows  against  a  re- 
lentless drab  sky. 
Signed  and  dated  just  right  of  centre:     "Oc.  Tassaert,  1855." 

H.  I2§  in.     W.  gl  in. 


FRITZ  THAULOW 
1 847- 1 907 

.  ^^  T  THE  WATERM1LL.  The  top  of  the  composition,  to  about  one 
^M  '  third  down,  is  crossed  by  a  row  of  picturesquely  disordered  build- 
ings that  have  their  feet  in  the  water,  which  extends  uninterruptedly  to  the 
front.  Two  gaps  appear  in  this  background;  a  narrow  one  towards  the  left, 
between  a  red  brick  house  and  a  structure  of  drab  clapboards;  and  a  wider 
one,  adjoining  a  pink  brick  house  on  the  right  that  has  steps  leading  down  from 
a  door  to  the  water.  The  latter  opening,  through  which  appears  a  view  of  a 
bush,  red  wall,  white  cottage  and  the  only  glimpse  of  sky,  is  occupied  by 
two  water  wheels.  The  right  hand  one  is  working,  and  the  eddies,  stirred  by 
its  escaping  water,  form  a  stream  of  movement  clear  to  the  front,  rocking  the 
reflections,  that  elsewhere  bask  quietly  on  the  surface. 
Signed  and  dated  at  the  right :     "  Fritz  Thaulow,  '92." 

H.  31!  in.     W.  46!  in. 

_  _  _  SCENE  IN  SNOW.  Astripof  embankment,  covered  with  snow, 
1  ^M^  extends  back  from  the  left  foreground,  disappearing  to  the  left 
behind  a  wall,  in  front  of  which  stand  four  tall  trees  with  scanty  boughs.  The 
river  on  the  right  is  crowded  with  craft,  laid  up  for  the  winter,  conspicuous  in 
the  front  being  one  end  of  a  two-decked  passenger  steamer  and  the  paddle  box, 
with  an  inscription  on  a  scarlet  ground  of  horse-shoe  shape — "Ville  de  Paris." 
The  straggling  group  of  boats,  covered  with  snow,  ends  in  some  square  struc- 
ture suggesting  a  bathhouse,  beyond  which  three  arches  of  a  bridge  span  the 
middle  distance.  Vehicles  and  pedestrians  are  crossing  it,  and  in  the  distance 
on  the  right  appear  trees  and  houses  on  an  eminence. 
Signed  and  dated  at  the  left :     "  Fritz  Thaulow,  '93." 

H.  2of  in.     W.  27!  in. 

i53 


MODERN    PAINTINGS 

CONSTANT    TROYON 
1810-1865 

t  f\^.  -5  THE  STREAM.  The  foreground  reveals  a  portion  of  a  winding 
*  y  J)  stream,  the  front  plane  of  which  is  in  shadow  from  the  foliage 
which  forms  an  arch  above  it.  On  the  left  this  springs  from  the  trunks  of 
three  oaks  whose  upper  branches  are  bare,  while  along  the  right  bank  extends 
a  row  of  willows.  Below  them  lies  a  punt  from  which  a  man  in  a  red  shirt  is 
leaning  out  to  cut  reeds.  In  the  middle  distance  is  a  stretch  of  sunlit  meadows 
that  extends  to  pale  buff  and  violet  hills.  Above  these  rises  an  expanse  of 
grey  and  blue  sky,  with  some  volumes  of  white  cloud,  while  overhead  the 
blue  is  paler  and  hung  with  darkish  grey  vapour. 
Signed  near  the  bottom,  right  of  centre:     "C.  Troyon." 

H.  13I  in.     W.  25  in. 


T  OH  A  LANDSCAPE  AND  C0W-  Across  the  rich  olive  green  fore- 
*  _7  T"  ground,  sprinkled  here  and  there  with  poppies,  a  cow  is  seen 
almost  in  profile,  as  she  moves  a  little  back  towards  the  left,  nosing  the  grass. 
She  is  a  dun,  with  white  markings  on  the  saddle  of  the  back,  the  belly,  left  leg, 
and  neck.  Bounding  the  pasture,  behind  her,  is  a  mass  of  trees  with  dark  juicy 
green  foliage  that  fills  the  right  half  of  the  scene  but  slopes  down  towards  the 
left,  where  a  distant  view  appears  of  level  grassland  with  indication  of  white 
buildings,  seen  against  a  violet  hill.  The  sky,  white  over  the  horizon,  grows  to 
a  greenish  blue.  One  little  puff  of  rosy  lavender  cloud  hovers  in  the  centre, 
near  the  trees. 
Signed  and  dated  at  the  left:     "C.  Troyon,  1856." 

H.  23  in.     W.  3 1  §  in. 


t  p.  ~  r  WOODED  LANDSCAPE;  A  beech  tree  has  been  felled,  and  its 
*  ^Jy)  J  crown  of  branches,  separated  from  the  trunk,  fills  the  left  of  the 
foreground.  It  is  being  dismembered  by  a  woodman  in  blue  trousers,  red 
waistcoat,  and  white  sleeves,  and  while  he  works  near  the  top  of  the  pile,  a 
little  girl  in  white  cap  and  blue  apron  has  crawled  in  amongst  the  tangle  of 
branches  and  is  playing  peek-a-boo  with  a  child,  whose  face  peers  from  under- 
neath a  bough.  A  short  section  of  the  trunk  stands  on  the  right,  and  farther 
back  on  this  side  appear  three  men  sawing  up  another  trunk.     Near  them  an 

154 


MODERN    PAINTINGS 

avenue  commences,  that  stretches  to  the  horizon.     Overhead  is  a  spacious 
sky,  breezy  and  buoyant  with  grey  and  white  clouds. 
Signed  at  the  left.     "C.Troyon." 

H.  25  in.     W.  20^  in. 

j  ^  /.  SEAANDSHORE.  Looking  forward,  one  sees  in  front  a  stretch 
*■  *<J{y\-/  of  shallow  water,  greenish  blue  with  tinges  of  pale  amber  from  the 
stirring  up  of  the  sand.  A  fisherman  in  a  red  shirt,  a  creel  slung  from  his 
shoulder,  is  wading  with  his  back  to  us.  To  the  right  of  him  a  brown  boat, 
with  white  stripe,  swings  to  its  mooring,  while  back  of  it  is  a  single-masted 
smack,  with  a  figure  near  it.  The  water  is  in  shadow;  so  also  a  strip  of  the 
sandy  shore,  but  beyond  the  latter  a  gleam  of  light  cuts  across  the  scene 
and  illumines  a  steep  slope  to  the  left,  on  the  top  of  which  are  white  cottages 
and  in  the  farther  distance  white  and  grey  puffs  of  smoke.  To  the  right,  on  a 
lower  level,  extends  an  irregular  line  of  homes  with  drab  and  red  roofs;  the 
land  finishing  in  a  point,  beyond  which  appear  the  blue  hills  of  a  distant 
shore.  In  the  offing  are  two  white  sailboats.  The  sky,  which  occupies 
nearly  three  quarters  of  the  picture,  is  a  delicate  grey  blue,  with  a  few  filmy 
clouds  above  the  horizon,  catching  the  light;  while  higher  up  is  a  bank  of 
streaky  white  vapour. 
Signed  at  the  left:     "C.Troyon." 

H.  iof  in.     W.  14I  in. 

j  ^.  _|-  SKETCH  OF  A  COW.  In  the  centre  of  the  composition,  mov- 
y  J  ing  away  from  us,  so  that  her  body  is  three  quarters  in  view,  is  a 
reddish  cow,  with  patches  of  white  on  her  left  flank,  hind  ankles,  and  the  tip  of 
her  tail.  The  grass,  of  a  tawny  yellow,  stretches  towards  a  mass  of  golden 
brown  foliage.  The  horizon  line  is  about  the  level  of  the  cow's  belly,  so  that 
her  body  bulks  strongly  against  the  sky,  which  is  filled  with  bluish  creamy 
vapour  that,  higher  up,  loosens  into  streaks  of  grey  and  finishes  in  an  open  ex- 
panse of  slaty  blue. 
Signed  at  the  left:     "C.Troyon." 

H.  13!  in.     W.  iof  in. 

m      O    LANDSCAPE— YOUNG  WOMAN  AT  GATE.   Near  the  centre 

*  ^  y  ^   a  young  woman  stands,  resting  her  hand  on  the  post  of  a  gate, that 

is  set  in  a  hedge  which  crosses  the  composition  diagonally.     Hanging  over  the 

part  of  it  behind  her  back  are  some  garments,  in  colour  mauve,  white,  grey 

155 


MODERN    PAINTINGS 

and  blue.  She  is  dressed  in  a  lavender  pink  dress  and  white  apron,  and,  as 
she  turns  her  head  to  look  to  the  right,  the  light  catches  her  white  cap.  In 
front  of  the  figure,  on  the  left  of  the  foreground,  is  a  juicy  green  mass  of  large- 
leaved  plants,  while  on  the  far  side  of  the  hedge  appears  a  tall  crop  of  bluish 
green  vegetation,  as  of  young  wheat,  backed  by  a  screen  of  trees,  one  yellow, 
the  rest  dark  green.  The  sky  is  filled  with  threatening  clouds  that  grow 
lighter  towards  the  right. 
Stamped  at  the  left:     "Vente  Troyon." 

H.  2of  in.     W.  25  in. 

BY  THE  SHORE— TWO  FIGURES.  Hurrying  from  us  along  a 
l^MM  sandy  road  are  two  figures:  a  man  in  red  jacket  and  short  blue 
trousers,  carrying  a  net  and  a  pole,  and  a  woman  in  black  dress,  white  cap  and 
apron,  with  a  basket.  They  are  at  a  point  about  half  way  distant  from  the 
water,  which  shows  greyish  white  on  the  right  of  the  middle  distance.  Beyond 
it  lies  a  horizon  of  faint  blue  cliffs.  The  glimpse  of  the  water  is  enclosed  on  the 
left  by  three  willows,  which  form  the  advance  posts  of  a  thicket  of  birch  and 
oak,  with  tangled  undergrowth,  that  extends  forward,  alongside  the  road, 
and  fills  the  left  side  of  the  composition.  The  foliage  is  dark  olive  green, 
ending  at  the  tips  in  yellowish  and  reddish  brown.  The  sky  a  whitish  cream, 
is  piled  over  the  right  with  grey  cumulus  clouds. 

H.  31  in.     W.  45!  in. 

,  .  „  „  RETURN  FROM  MARKET.  Conspicuous,  almost  in  the  centre 
'  A  {J^J  of  the  foreground,  is  a  white  cow,  immediately  fronting  us.  The 
light  is  concentrated  on  her  and  passes  off  tothe  left  in  diminished  brightness, 
upon  a  string  of  sheep  and  a  black  and  white  cow,  while  on  the  right,  as  a 
foil  to  the  focus  of  illumination,  is  the  contrast  of  a  brown  cow  in  shadow. 
Behind  the  latter,  also  in  shadow,  is  the  herdsman  in  a  blue  blouse,  who  extends 
his  arm  to  direct  the  movement  of  a  white  dog  that  is  charging  into  the  mass  of 
animals,  for  a  beast  on  the  left  has  flung  up  his  heels  and  is  threatening  to 
break  away.  The  disturbance  seems  to  have  been  caused  by  the  meeting  with  a 
woman  on  a  dapple  grey  horse  whose  rump  appears  above  the  dust  that  has 
been  raised.  The  woman,  dressed  in  a  plain  coloured  gown,  with  a  red  ker- 
chief and  white  cap,  is  bending  down,  as  she  addresses  a  man  of  whom  we  see 
only  the  face,  topped  with  a  high  grey  hat,  and  the  red  waistcoat  and  blue 
lapel  of  a  coat.  In  the  middle  distance,  on  the  right,  a  band  of  peasants  is 
following  a  wagon  of  hay  drawn  by  two  horses.     The  sky,  which  occupies  half 

156 


MODERN    PAINTINGS 

the  composition,  is  greenish  grey  over  a  horizon  of  faint  blue  hills,  with  white 
clouds  higher  up  breaking  into  a  grey  blue. 
Signed  at  the  left:     "C.  Troyon." 

H.  23!  in.     W.  35!  in. 

MAN  WITH  SHEEP.  In  the  warm  fading  light  of  late  afternoon 
1  1  \J  1  amanissittingnear  somesheep.  His  figure, seen  in  profile  toward 
the  right,  is  dressed  in  dark  blue  trousers  and  a  red  waistcoat  with  drab  back. 
A  felt  hat  of  the  latter  colour,  casts  a  shadow  over  the  upper  part  of  his  face, 
which  is  turned  to  the  front.  The  light  catches  his  cheek  and  nose,  as  it  does 
also  the  back  of  a  sheep  that  is  lying  to  the  left  and  in  front  of  him,  and  the 
nose  of  another  that  is  lying  farther  to  the  left.  The  pasture  slopes  up  to  a 
distance,  where,  against  foliage  there  is  an  indication  of  two  sheep  on  the  left 
and,  on  the  right,  of  a  cow. 
Signed  at  the  left:     "C.T." 

H.  ioj  in.     W.  13!  in. 

„  _  A  LEASH  OF  HOUNDS.  That  he  may  learn  to  conduct  himself 
1  1^^  as  becomes  a  good  sporting  dog,  a  young  hound,  with  black  and 
white  markings  and  tan  ears,  has  been  leashed  to  an  older  one,  whose  colouring 
is  white  and  orange  tawny.  While  the  latter  is  pointing  steadily  towards  his 
left,  the  other,  with  tongue  lolling  out  and  forefeet  firmly  planted,  is  tugging  at 
the  chain  in  the  opposite  direction.  The  two  beasts,  nearly  life  size,  occupy 
the  entire  foreground,  the  back  being  closed  with  greenery. 

H.  45  in.     W.  58  in. 


JOSE   VILLEGAS 

BORN  IN   1848 

.  n  ALHAMBRA  INTERIOR.  Rearing  up  on  the  right  are  two 
1  *■  ^J)  columns,  whose  rose  and  creamy  shafts  terminate  in  spreading 
capitals,  moulded  with  the  so  called  "quarry  ornament"  of  Hispano-Moresque 
design.  To  the  shaft  of  one  of  the  columns  is  attached  a  bracket  device, 
formed  of  sword  blades,  below  which  hangs  an  Arabic  inscription,  over  the 
head  of  a  woman  who  is  bound  to  the  foot  of  the  column.  Except  for  some 
gold  chains  and  a  wisp  of  dark  brown  hair  that  streams  across  her  bosom,  she 
is  nude  to  the  waist,  whence  descends  a  filmy  mass  of  white  drapery  and  gold 
web.     With  tearful  gaze  she  extends  her  right  arm,  as  if  appealing  for  mercy; 

157 


MODERN    PAINTINGS 

» 

while  near  by  on  a  step  sits  a  Nubian,  in  a  magnificent  costume  of  rose-coloured 
bloomers,  and  gold  embroidered  vest  over  a  full-sleeved  white  shirt,  who  holds 
across  his  lap  a  long  sword.  The  background  of  this  group  is  a  deep  crimson 
wall,  at  the  base  of  which  sit,  expressionless,  a  row  of  white-robed  men.  To 
the  left  of  the  foreground  an  expanse  of  brown  and  silver  mottled  wall  extends 
to  the  top  of  the  picture.  A  metal  dish,  containing  a  few  coins  lies  on  the  floor 
in  the  centre. 
Signed  at  the  right:     "Villegas." 

H.  29I  in.     W.  17!  in. 

ANTOINE  VOLLON 
1833-1900 

T  T  r\  A  ^  MUSICIAN.  On  a  spot  of  sandy  ground,  backed  by  golden 
*■  '  ^^[  brown  and  greenish  foliage,  reclines  a  youth,  in  a  red  tunic  that 
leaves  his  right  shoulder  bare.  His  right  arm,  stiffened  into  a  vertical 
position,  supports  his  body,  while  the  right  leg  is  bent  back,  and  the  left 
one,  extended,  disappears  behind  a  blue  drum,  on  which  rest  a  gourd  bottle, 
and  a  trumpet.  Lying  in  front  of  the  drum  is  a  black  dog  with  head  and  ears 
erect,  and  in  front  of  the  youth  are  a  cymbal  and  flageolet.  To  the  right,  the 
ground  breaks  into  diversities  of  form  that  suggest  water  and  a  distant  point 
of  land.  Above  is  a  grey  sky,  with  one  puff  of  white  cloud,  and  a  burst  of 
blue  overhead. 
Signed  at  the  left:     "A.  Vollon." 

Panel.     H.  of  in.     W.  14  in. 

.  .  „  _  A  HARBOUR.  The  harbour,  extending  across  the  foreground,  is 
*  1  W  ^  seen  at  lowtide;  poolsof  shallowwaterinterruptingthewhitesand. 
On  the  left  of  it,  heeling  towards  the  front,  so  that  the  bright  blue  fittings 
of  its  interior  are  visible,  lies  a  single  masted  boat.  The  sea-wall  stretches 
across  the  middle  distance,  surmounted  on  the  left  by  a  pile  of  slate-coloured 
and  reddish  buildings,  relieved  by  two  with  scarlet  roofs.  Midway  is  a  light- 
house, and  lying  off  the  extremity  are  two  double  masted  smacks,  the  rigging 
of  which  shows  handsomely  against  a  fine  sky,  that  has  a  small  fluster  of  white 
clouds  on  the  left,  but  towards  the  right  grows  darker,  with  a  peep  of  blue  at 
the  top.  The  water  outside  the  harbour  shows  as  a  strip  of  sapphire  blue, 
dotted  with  tiny  white  sails. 
Signed  at  the  right:     "A.  Vollon." 

H.  25!  in.     W.  19J  in. 

,58 


MODERN    PAINTINGS 

_  .  f-^f  STILL  LIFE.  Against  a  tawny  golden  background  stands,  in 
1  1  WW  centre  of  the  composition,  a  tall  brownish  earthenware  flagon  with  a 
pewter  lid.  To  the  right  of  it  rests,  in  a  slanting  position,  a  large  grey-white 
dish,  bearing  two  superb  peaches  and  a  bunch  of  green  grapes,  while  over  its 
edge  hang  two  larger  bunches  of  green  and  purple  grapes  that  mingle  with  a 
profusion  of  the  same  fruit,  lying  on  the  table.  Above  this  mass  appear  the 
neck  and  bowl  of  a  Bohemian  glass  goblet,  of  bottle  green  colour.  Conspicu- 
ous on  the  left  of  the  arrangement  is  a  yellow  pear  that  catches  the  chief 
light.  Behind  it  in  shadow  is  a  peach. 
Signed  at  the  left:     "A.  Vollon." 

H.  22^  in.     W.  30I  in. 


t  s^r-j   WOMAN  AND  FLAX-WHEEL.     The  gathering  darkness  has 
A  /    already  immersed  her  flax-wheel  and  the  woman  sits  in  front  of  it, 

apparently  lost  in  reverie.  Her  body,  turned  three-quarters  to  the  front,  is  on 
so  low  a  stool  that  her  knees  are  raised  above  her  lap,  which  is  covered  with  a 
slaty-grey  leather  apron.  On  this  one  strong  hand  is  laid,  while  the  other  is 
held  to  the  waist  of  her  black  dress.  As  she  turns  her  ruddy,  earnest  face 
to  the  right,  the  muscle  of  the  neck  catches  the  light,  as  does  also  the  white 
cap  that  confines  her  black  hair.  A  few  cockle  shells  lie  to  the  left  of  the  brown 
floor. 
Signed  at  the  right:     "A.  Vollon." 

H.  65  in.     W.  50  in. 


I  I08 


studio  a  monkey  sits,  hunched  up  on  the  scarlet  cushion  of  the 
model's  throne,  blowing  a  trumpet.  He  is  arrayed  in  dark  blue  trunks,  a 
greenish  blue  Japanesque  jacket,  and  a  hat  with  a  red  feather.  Seated  on  the 
left  of  the  composition,  he  has  his  back  to  a  picture  on  an  easel;  in  front 
of  him  is  a  tubular  stove  with  a  steaming  pot  on  the  top.  Over  a  fireplace  at 
the  back  is  a  cast  of  one  of  Michelangelo's  figures  from  the  Medici  tomb; 
near  it  on  the  left  hangs  a  low  relief,  while  on  the  right  appears  a  bust  of 
Minerva.  The  floor  is  strewn  with  a  jar  of  brushes,  paint-box,  books,  music, 
palette,  and  pipe. 
Signed  at  the  left:     "A.  Vollon." 

H.  18  in.     W.  14I  in. 

'59 


MODERN    PAINTINGS 


.  SHIPBUILDING  YARD.     Three  sides  of  a  raggedly  outlined 

1  I  \J\Jj  basin  of  water,  that  is  entered  from  a  distance  in  the  background, 
are  littered  with  debris  of  timber  and  the  hulls  of  boats.  Balks  of  timber  lie 
diagonally  across  the  foreground  and  to  the  left  a  brownish  yellow  boat  is 
propped  up  with  stakes,  while  behind  it  appears  a  group  of  masts.  Across 
the  horizon  spread  some  dull  grey  buildings,  and  a  few  chimney  stacks.  The 
water  reflects  the  cold  glare  of  a  light  grey  sky  that  towards  the  right  grows 
darker. 
Signed  at  the  right:     "A.  Vollon." 

H.  16  in.     W.  20  in. 


KAREL  EMIL  WALTERS 

BORN  IN    1846 

y  T  MARY  OF  BURGUNDY,  GRANTING  THE  "GREAT  PRIV- 
I  I  1  O  I  LEGE."  In  1476,  by  the  death  of  her  father,  Charles  the 
Headstrong,  Mary  of  Burgundy  became  ruler  of  the  Netherlands.  She  had 
already  been  robbed  of  her  property  in  France  by  Louis  XI,  and,  resolved 
to  continue  the  war  against  him,  summoned  the  Estates  to  Ghent.  Taking 
advantage  of  the  situation,  they  exacted  from  her  the  "Great  Privilege" 
the  Magna  Charta  of  the  Netherlands,  which  among  other  benefits  provided 
that  offices  should  be  filled  by  natives  only  and  that  without  the  consent  of  the 
Estates  no  taxes  should  be  levied. 

Mary  is  here  represented,  taking  the  oath  to  the  compact.  Clad  in  a  white 
silk  gown,  with  gold  embroidery  around  the  square  cut  neck  and  tight  sleeves, 
while  loose  oversleeves  descend  nearly  to  the  floor  her  train  is  upheld  by 
two  fair-haired  girls,  also  dressed  in  white  and  gold.  She  stands  on  a  dais 
in  the  centre  of  the  scene.  Her  right  hand  is  raised;  the  other  is  laid  upon 
a  heavily  bound  Bible  held  by  the  archbishop.  His  cope  of  cloth  of  gold 
is  supported  by  an  acolyte,  while  two  others  stand  by  with  cross  and  candle 
and  a  retinue  attends  him  with  flags  overhead.  Among  the  company  in 
attendance  upon  Mary  are  a  lady  in  waiting  and  two  men  in  crimson  robes. 
Signed  on  the  step  at  the  left :     "  E.  Wauters." 

H.  50  in.     W.  39  in. 

Paris  International  Exhibition  of  1878. 

160 


MODERN    PAINTINGS 

JAMES  MC  NEILL  WHISTLER 
i 834- i 903 

WESTMINSTER  PALACE  — NOCTURNE.  In  the  luminous 
1  1  1  1  hazeof  a  summer  night  that  envelopes  the  whole  scene,  a  faint  blur 
of  smoky  black,  separating  the  blue  of  the  sky  from  the  blue  of  the  water, 
suggests  the  silhouette  of  buildings  on  the  farther  bank  of  the  river.  Towards 
the  right  looms  up  the  shadowy  form  of  the  clock-tower  of  Westminster,  two 
pale  yellow  discs  indicating  the  clock's  face.  These  are  reflected  in  the  water; 
and  nearer  to  the  centre  is  another  yellow  reflection  from  a  spot  of  light  close 
down  by  the  water's  edge.  To  the  left  of  the  reflection  of  the  clock  tower  ap- 
pears a  touch  of  grey,  and  below  it  in  the  foreground  another  of  slightly  lower 
tone,  while  near  the  reflection  of  the  yellow  spot  is  faintly  discernible  a  grey 
circle.  A  suggestion  of  shadow  hovers  over  the  immediate  foreground. 
Marked  at  the  right  with  a  faint  suggestion  of  The  Butterfly. 

H.  1  if  in.     W.  19I  in. 

Formerly  in  the    I.  Duret  collection. 


THE  LADY  OF  THE  LANG  LIJSEN.  Seated,  facing  the  left, 
1  1  1  2,  is  a  lady  in  a  grey  silk  kimono,  embroidered  with  rose,  blue  and 
yellowish-salmon  coloured  flowers,  the  sleeves  having  a  broad  rose  border,  and 
a  narrow  purple  one,  finished  off  by  a  rolled  and  padded  edging  of  the  grey 
silk.  A  purple  stole  hangs  from  her  shoulders,  while  over  the  lower  part  of 
her  person  is  draped  a  deep  dark  purple  drapery,  enlivened  with  red,  green  and 
grey  embroidery.  Her  golden  red  hair  is  drawn  off  the  forehead  and  bunched 
in  Japanese  style  at  the  back,  where  it  is  held  in  place  by  red-headed  pins  and 
a  hoop  of  the  same  colour.  The  head  is  seen  against  a  golden  buff  bureau, 
on  which  stand  a  blue  and  white  jar  and  plate,  the  latter  forming  a  background 
to  her  face.  The  girl  is  reclining  back,  her  head  a  little  forward,  as  she  gazes 
down  at  a  blue  and  white  jar  that  her  left  hand  holds  upon  her  lap,  of  the  same 
precious  ware  as  the  porcelain  objects  on  the  bureau.  Known  as  "Lang 
Lijsen,"*  it  has  suggested  the  title  of  the  picture.  Her  right  hand  swathed 
in  the  sleeve  of  the  kimono,  poises  a  red  pencil.  Other  pencils  lieon  the  bureau 
behind  her,  beside  a  fan,  a  lacquer  tray,  and  a  cup  and  saucer.  The  background 
is  a  beautiful  red  gold. 
The  original  frame,  designed  by  the  artist,  is  covered  with  an  incised  repeat 

*A  name  given  by  the  early  Dutch  traders  to  the  blue  and  white  Chinese  porcelain,  decorated  with  figures 
of  "Long  Ladies",  or  "Long  Elizas." 

l6l 


MODERN    PAINTINGS 

of  conventional  wave-forms,  interrupted  at  the  corners  and  centre  of  the  sides 
by  a  conventionalised  chrysanthemum. 

Signed  and  dated  vertically  on  a  blue  and  a  pink  strip;  arranged  side  by 
side  in  the  top  corner,  right:     "Whistler,  1864" 

H.  36  in.     W.  24  in. 


EDUARDO  ZAMACOIS 
1 842- 187 1 

TOREADOR'S  TOILET.  Looking  over  his  right  shoulder  to  a 
1  A  *  j  mirror  that  reflects  part  of  his  figure,  a  toreador  is  putting  the  last 
touch  to  his  toilet.  He  is  arranging  a  golden  yellow  sash  over  his  costume, 
which  consistsof  jacket, vest,  and  tight  breeches  of  applegreensilk,  embroidered 
in  silver  and  decorated  with  tags  of  white  beads.  Behind  him  the  legs  of  a 
mahogany  table  show  below  a  scarlet  scarf  and  a  crushed  strawberry  satin 
cloak,  on  which  lies  a  black  cap.  A  square-shaped  chair,  upholstered  in 
leather  and  studded  with  large  nails,  stands  against  the  red  wall,  on  which 
hangs  a  picture  in  a  black  frame,  representing  a  toreador  attacking  a  bull. 
Signed  at  the  right:     "Ed.  Zamacois,  1866." 

H.  9!  in.     W.  7h  in. 


FELIX  Z1EM 
182 1- 191 1 

.  T  T  .  CANAL — VENICE.  A  gondola,  whose  cab  is  filled  with  people, 
1  I  1  ZJ.  is  being  propelled  across  the  foreground.  It  has  just  left  a  high, 
gabled  doorway,  on  the  left,  beside  which  are  two  pale  blue  posts.  Imme- 
diately beyond  these  juts  out  the  shadowed  wall  of  a  palace,  pierced  with 
Gothic  windows.  On  the  roof,  beneath  a  pergola,  two  figures  are  discernible. 
Over  on  the  right  side  of  the  canal  stands  another  palace,  which,  although  it  is 
in  shadow,  is  reddened  with  a  reflected  glow.  The  vista  of  water  terminates 
in  a  view  of  Santa  Maria  della  Salute,  its  pale  grey  dome  softly  silhouetted 
against  an  orange  creamy  sky,  that,  higher  up,  cools  to  a  grey  blue,  with  a 
few  fleecy  clouds  of  rosy  cream.  A  delicately  wrought  bracket-lamp  pro- 
jects from  the  building  on  the  left. 
Signed  on  the  left:     "Ziem." 

H.  255  in.     W.  21  in. 

162 


MODERN    PAINTINGS 

_  .  -  _  VENETIAN  SCENE.  Across  the  water,  which  dances  in  the 
Illy  sunshine  with  reflections  of  green, gold,  brown,  and  red,  appears  a 
handsome  landing-stage,  backed  by  luxuriant  foliage,  topped  with  masses 
of  tawny  yellow.  A  wall  of  pinkish  white  masonry,  extends  to  left  and  right 
of  the  landing  stage,  which  is  approached  from  the  garden  by  a  flight  of  steps, 
flanked  with  square  projections,  crowned  with  balustrades.  Amongthefigures, 
grouped  on  the  stage,  stands  a  lady  in  red  dress,  with  a  white  drapery  over 
her  head.  Lying  alongside  is  a  gondola  with  a  dark  blue  hood;  and  to  the 
left  of  it  another,  of  brownish  colour  with  touches  of  red.  Meanwhile  is 
approaching  from  the  right  a  long  black  gondola,  filled  with  people.  It  has 
just  passed  a  group  of  four  blue  posts,  which  corresponds  to  another  group  of 
five  on  the  opposite  side  of  the  landing  stage. 
Signed  at  the  right :     "Ziem." 

H.  i6|  in.     W.  24}  in. 

T  T  f  ITALIAN  LANDSCAPE.  Battlemented  walls  crown  a  steep 
1  1  1  vj  slope  which  descends  on  the  right  of  the  foreground.  At  the 
foot  sits  a  woman  in  a  white  cap  and  a  rose-coloured  dress,  gazing  over  the 
water  which  fills  the  rest  of  the  foreground.  Immediately  in  front  of  her  is  a 
little  island  with  reedy  banks,  on  which  stand  two  trees  with  olive  green 
foliage,  while  on  the  left  the  water  extends  to  a  bridge  with  two  arches.  Ad- 
joining this  is  a  towered  structure  that  shows  above  the  trees,  and  to  the  right 
are  other  buildings;  all  the  architecture  in  this  plane  being  creamy  white  in  the 
sunshine,  while  the  masonry  and  slope  in  the  foreground  are  in  shadow.  The 
sky  is  a  pale  warm  grey  with  a  burst  of  blue  in  the  right  upper  corner,  and  the 
reflections  on  the  water  mingle  rose  and  blue  with  grey. 
Signed  at  the  right :     "  Ziem." 

H.  8|in.     W.  13!  in. 


163 


SCULPTURES  AND  ART  OBJECTS 


1 

SCULPTURES 

FRENCH,    FLEMISH,   GERMAN,    ENGLISH,    AND    ITALIAN 

XV    AND    XVI    CENTURIES 


I 

SCULPTURES 

FRENCH,  FLEMISH,  GERMAN,  ENGLISH,  AND  ITALIAN 

XV  AND  XVI  CENTURIES 

FRENCH   (ISLE  DE  FRANCE) 

ABOUT    I4OO 

.    y    r  ry   HEAD  OF  THE  MADONNA.     She  wears  a  veil  and  crown  of 
/    which  only  the  foremost  point  remains. 

Limestone.     H.  10  in. 

FRENCH 

ABOUT  I4OO 

O  MADONNA  ENTHRONED  AND  THE  CHILD.  The  Virgin, 
1  1  1U  ^  close  fitting  gown  partly  covered  by  a  mantle,  is  seated  on  a 
bench.  She  wears  a  crown  from  which  a  veil  falls  over  her  shoulders.  She 
holds  the  Child,  clad  in  a  long  robe,  on  her  left  knee  and  supports  Him  with 
her  left  hand.  The  Child  holds  His  left  hand  against  His  body  and  makes  a 
sign  of  blessing  with  His  right.  The  Virgin  must  originally  have  held  a  flower 
in  her  now  empty  right  hand. 

Wood,  painted  and  gilded.     H.  385  in. 

FRENCH 

EARLY  FIFTEENTH  CENTURY 

MADONNA  AND  CHILD.     She  stands,  draped  in  a  wide  cloak 

1    1    1  C|  which  is  thrown  over  her  right  arm,  holding  the  Child  on  her  left 

arm.     He  is  robed  and  sits  with  crossed  legs  holding  a  bird  in  His  hands. 

169 


SCULPTURES    AND    ART   OBJECTS 

Luxuriant  curls  peep  forth  from  under  the  Madonna's  veil.      Originally 
painted. 

Limestone.     H.    33J  in. 

From  a  church  in  Champaigne. 


NORTH  FRENCH 

ABOUT  I52O 

.    T   -  ~    MADONNA  STANDING  ON  THE  CRESCENT  MOON.    The 
1    1  ^^-J  Child,  held  in  her  right  arm,  seeks  to  take  a  grape  from  her  hand. 
She  is  robed  in  Flemish  fashion,  with  a  netted  cap. 

Painted  limestone  relief.     H.  2\\  in.     W.  8  in. 


FLEMISH 

ABOUT   I49O 

I    T  r>  T     MADONNA  AND  CHILD.    The  standing  Virgin,  clad  in  a  loose 
1    1  .Z  1    gown,  holds  the  Child  on  her  left  arm  and  clasps  His  right  foot 

with  her  left  hand.     The  Child  wears  a  little  shirt  and  holds  a  bunch  of 

grapes  in  the  left  hand. 

Wood.     H.  16  in. 


ANTWERP  ARTIST 

ABOUT  I52O 

_  _  THE  MARRIAGE  OF  JOSEPH  AND  MARY.  Joseph  and 
*  *■■£■£  Mary  face  each  other  and  clasp  hands,  the  High  Priest  in  the  cen- 
tre holds  their  hands  with  a  corner  of  his  stole  and  raises  his  right  hand  in 
blessing.  A  woman  stands  to  the  left  of  Mary  and  a  man  on  Joseph's  right. 
Both  hold  their  right  hands  before  them  and  apparently  view  the  ceremony 
with  displeasure.     Probably  from  a  large  carved  altarpiece. 

Oakwood.     H.  12 J  in.     W.  13  in. 

170 


SCULPTURES   AND   ART   OBJECTS 

FLEMISH 

ABOUT     1520 

ADORATION  OF  THE  KINGS.  The  seated  Virgin  holds  the 
1  A  <£  J)  nude  Child  on  her  right  knee,  supporting  Him  with  both  hands. 
She  wears  a  loose  gown  and  flowing  head-dress.  One  of  the  kings  kneels  to 
the  left,  supporting  a  gift  on  his  left  knee  and  clasps  his  hands  reverently 
before  him.  The  other  kings  stand  in  the  rear  holding  gifts.  All  costumes  in 
gold.     Arms  of  the  Child  missing. 

Oakwood.     H.  14  in. 


SOUTH    GERMAN 

ABOUT   I5OO 

THREE  FIGURES  FROM  A  GROUP  OF  THE  PIETA.  The 
1  1  w  ZJ  Virgin,  supported  by  St.  John  and  a  woman,  folds  her  hands  in 
prayer,  her  head  slightly  inclined  to  the  left.  She  wears  head  covering  and  a 
loose  flowing  gown.  St.  John,  with  curly  hair  and  wearing  a  loose  coat,  on  the 
left.  The  woman,  with  costume  similar  to  that  worn  by  the  Virgin,  on  the 
right. 

Wood.     H.  27  in. 

SOUTH    GERMAN 

ABOUT     I5OO 

T    T   r\  rr    ST-  MICHAEL.     High  relief.     The  right  hand  raised  holding  a 
'    '  ■")    sword,  the  greater  portion  of  which  is  missing.     The  left  hand, 

originally  held  the  scales  which  are  now  missing.     Long,  flowing  hair,  pink 

shirt,  and  blue  mantle.     The  back  is  hollow 

Wood.     H.  36  in. 

SOUTH   GERMAN 

ABOUT     I5OO 

T    T   O^  VIRG,N  AND  CHILD.     The  Virgin,  wearing  a  loose  gown,  is 

^    1  -^  vJ   seated  on  a  hench  which  rests  on  a  console  and  holds  the  Child  on 

her  left  knee,  supported  by  her  left  hand.     The  nude  Child  holds  a  ball  on 

171 


SCULPTURES   AND   ART   OBJECTS 

His  left  knee  and  steadies  it  with  His  right  hand.  The  right  arm  of  the  Child 
and  the  left  hand  of  the  Virgin  have  been  added.  Very  likely  placed  at 
the  top  of  an  altar. 

Wood.     H.  12  in. 


SOUTH  GERMAN  (ULM?) 

ABOUT    1520 

j    I    _  r-   ST.  FLORI  AN.     He  is  clad  in  full  armour  partly  covered  with  a 
*■    *■  ■"  J    mantle,  and  wears  a  red  cap.     Originally  gilt  upon  a  red  ground. 

Traces  of  colour  partly  preserved.     He  holds  a  spear  (which  has  been  added) 

with  the  left  hand.     Back  hollow. 

Wood.     H.  39  in. 


SUAB1AN 

ABOUT   I5OO 

.    .    -Q    A  FEMALE  SAINT.     She  wears  a  loose  gown  and  cap  with  a  veil 
*■    l^O  flowing  over  the  left  shoulder.     She  holds  her  mantle  with  the 

right  hand  and  a  book  in  the  left.     Originally  coloured.     Both  hands  have 

been  added. 

Wood.     H.  28  in. 


SOUTH    GERMAN 

ABOUT   I52O 

THE  FLIGHT  INTO  EGYPT.  The  Virgin  is  seated  on  the  ass 
1  1  .Z  \Jj  and  holds  the  Child  with  both  hands.  She  wears  a  loose  gown, 
and  a  veil  about  her  head,  over  which  is  a  halo.  The  Child  is  wrapped  in  cloths 
with  a  covering  about  His  head.  Joseph  with  the  left  hand  leads  the  ass  towards 
the  right.  He  reaches  for  some  fruit  with  the  right  hand.  He  is  partially 
bald,  full-bearded,  and  clad  in  a  tunic.  A  fruit  tree  on  the  left.  Round 
relief.     Elaborately  carved  border. 

Wood.     Diameter,  io§  in. 

172 


SCULPTURES   AND   ART  OBJECTS 

ENGLISH 

SECOND  HALF  OF  THE  FIFTEENTH  CENTURY 

THE  CROWNING  WITH  THORNS.     Christ  is  seated  in  the 

1    A  J?^  centre,  surrounded  by  six  scoffers.     One  binds  Him,  a  second  offers 

Him  a  reed,  while  two  more  standing  above  Him  press  the  crown  down  on  His 

forehead  with  prongs.     The  two  others  are  mocking  Him.     Christ's  robe  is 

embroidered  in  a  design  of  lilies. 

Alabaster.     Partially  painted  and  gilded.     H.  15  in.     W.  1 1  in. 


ENGLISH 

SECOND    HALF    OF    THE    FIFTEENTH    CENTURY 

y  T  .  .  MADONNA  AND  CHILD.  The  Virgin,  wearing  an  elaborate 
1  *■  J)  A  gown,  holds  the  nude  Child  with  herleft  hand,  a  portion  of  hergown 
covering  Him.  She  wears  a  crown  from  which  a  veil  falls  over  her  shoulders, 
disclosing  her  curly  hair.  The  Child,  with  curly  hair,  holds  a  dove  in  the  left 
hand  and  plucks  at  a  bunch  of  flowers  which  the  Virgin  holds  with  her  right 
hand. 

Alabaster.     H.  21  in. 


I    I    ™ 


FOLLOWER  OF  ANTONIO  ROSSELLINO 

FLORENTINE  SCHOOL,    ABOUT   I460 

MADONNA  AND  CHILD.  The  Virgin,  wearing  a  loose  mantle 
J  -A  over  her  dress,  holds  the  nude  Child  with  both  hands.  She  wears 
a  veil  over  her  wavy  hair,  and  inclines  her  head  to  the  right,  with  closed  eyes. 
The  Child  gazes  down  at  a  dove  which  He  holds  with  the  left  hand  and  raises 
His  right  hand  in  benediction. 

Terra  cotta  relief .     H.  i8|in.     W.  14^  in. 

•73 


SCULPTURES   AND   ART   OBJECTS 

BENEDETTO    DA    MAJANO 

FLORENCE,     I442-I497 

_   _    PUTTO.     Half  facing  to  the  right.     He  has  curly  hair  and  holds 
1    1  J)  J)    a  cord  around  his  neck  with  both  hands.     Back,  with  wings, 
unfinished.     Nude.     Feet  missing  and  nose  restored. 

Marble.     H.  22  in. 


MADONNA   AND   CHILD.     Statuette.     The  Virgin,  wearing 
1    A    J)  ^   a  blue  dress  and  red  mantle,  is  sitting  on  a  low  seat  holding  the 
Child  in  front   of   her  on  her  lap.      The  Child,  wearing  a  cloth  around  His 
body  and  a  coral  chain  on  His  neck,  raises  His  hand  in  the  act  of  blessing. 

Painted  terra  cotta.     H.  12k  in. 


LORENZO   DI    PIETRO,  called    1L  VECCHIETTA 

SIENA,    I412-I480 

^         RELIQUARY  BUST.    Stern  features  with  short  hair  and  curling 
'    1  j  j    beard.     Large,  staring  eyes.     He  wears  an  ecclesiastical  gown, 
elaborately  decorated,  with  stole  ribbons  on  which  are  depicted  two  saints. 
Circular  opening  in  the  breast.     Octagonal  base. 

Wood  painted  and  gilded.     H.  22  in.     W.  23  in. 


UMBRIAN 

SECOND    HALF    OF     THE    FIFTEENTH    CENTURY 

r    KNEELING  ST.  MAGDALENE.  She  kneels,  half  turned  to  the 
'    I  JjyJ   right,  with  hands  folded  in  prayer.     She  gazes  downward  to  the 
right  with  half-closed  eyes.     Close  fitting  gown.     Wavy  hair  over  which  is  a 
halo.  Square  base. 

Wood  painted  and  gilded.     H.  27  in. 

174 


SCULPTURES   AND   ART   OBJECTS 

CENTRAL    ITALIAN   (MARKEN?) 

SECOND  HALF  OF  THE   FIFTEENTH  CENTURY 

«  _    BUST  OF  A  FEMALE  SAINT.     Smooth,  flowing  hair,   the 
A    '  J)  /    ends  covered  by  the  kerchief  over  her  shoulders. 

Wood.     Painted  and  gilded.     H.  26  in. 


UMBRIAN 

SIXTEENTH  CENTURY 

TWO  ANGELS  BEARING  CANDELABRA 


1 1  °8 

-y         Wood.     Painted  and  gilded.     H.  285  in. 


■75 


II 

SCULPTURES 

GERMAN,   FLEMISH,   FRENCH,  SPANISH   AND  ITALIAN 

XVII   AND  XVIII  CENTURIES 


II 

SCULPTURES 

GERMAN,  FLEMISH,   FRENCH,   SPANISH,  AND   ITALIAN 

XVII  AND  XVIII  CENTURY 


GERMAN 

SEVENTEENTH    CENTURY 

_        AENEAS  AND  ANCHISES.  Aeneas, clad  in  a  coat  of  mail, car- 
*    '  Jm  ries  his  father  over  his  shoulder. 

Beechwood.     H.  u|in. 


FLEMISH 

SECOND  HALF  OF  THE  SEVENTEENTH  CENTURY 

SUSANNAH  AND  THE  ELDERS.      Seated   on  a  table   in 
1    A  n-        the  centre  of  the  group  beneath  a  bower  of  palms  and  vines,  she 
repulses  the  two  elders  who  press  near  her  on  the  left  and  on  the  right. 

Ivory.     H.  9  in.     W.  6|  in. 


SPANISH 

LATE   SEVENTEENTH   CENTURY 

T    T      .   T    SAINT.  The  right  hand  is  held  to  his  breast, the  left  outstretched. 
*■    1  l\  *■     Dark  robe  and  voluminous  gold-embroidered  cloak. 

Wood.     Painted  and  gilded.     H.  1  if  in. 

179 


SCULPTURES   AND   ART  OBJECTS 

SCHOOL  OF  GIOVANNI     BOLOGNA 

ITALIAN,  SEVENTEENTH   CENTURY 

.  .  ..  THE  SCOURGING  OF  CHRIST.  Christ  stands  in  a  pillared 
*  *■  *\  ^  hall,  bound  fast  to  one  of  the  columns.  He  is  bending  slightly 
forward,  while  two  soldiers  scourge  Him,  one  with  a  rod,  the  other  with  a 
scourge.  On  the  right  the  High  Priest,  seated  on  his  chair  with  several 
companions  behind  him,  watches  the  scene.  In  the  right  foreground  is  a 
captain  wearing  a  plumed  helmet.  His  right  hand  rests  on  the  arm  of  the 
chair,  his  left  on  a  staff. 

Painted  stucco  relief.     H.  33I  in.     W.  33!  in. 


ITALIAN 

EIGHTEENTH  CENTURY 

1    1     a  *\    PI  ETA.     The  Virgin,  gazing  heavenward,  holds  the  dead  Christ 
1    1  *\  j   upon  her  knees.     The  Crown  of  Thorns  lies  at  her  feet. 

Ivory.     H.  8f  in. 


ITALIAN 

EIGHTEENTH   CENTURY 

A  A  P'ETA.  The  composition  includes  fourteen  figures.  The  Virgin 
'  A  ^\  ^-\  is  seated  on  high,  holding  Christ's  body  on  her  knees.  St.  John  on 
the  right,  Mary  Magdalene  on  the  left.  Joseph  of  Arimathea  and  the  captain 
stand  before  them.  The  remaining  eight  figures  are  soldiers  and  assistants. 
The  figures  are  of  carved  wood,  painted  and  dressed  in  silk  and  leather. 
Several  have  waistcoats  of  coloured  silk  embroidery  on  net. 

H.  of  single  figures  7  in. 

180 


SCULPTURES   AND   ART  OBJECTS 

JEAN  ANTOINE  HOUDON 

Born  at  Versailles  in   1741.     Died  at  Paris  in   1828.     Sculptor  chiefly  of 
portraits,  statues  and  busts. 

PORTRAIT  OF  A  BOY.     Bust.     Head  slightly  turned  to  the 
*    1  ^\  j    left.     Short,  wavy  hair.     He  wears  a  loose  shirt  with  fluted  col- 
lar which  is  open  at  the  throat. 

Tinted  plaster.     H.  16  in. 


FRENCH 

PERIOD  OF  LOUIS  XV 

T    T    A  (     THE  KNIFE  GRINDER.     Bronze  copy  of  the  antique  figure, 
*    A  t\  ^  of  which  the  most  famous  copy  is  in  the  Uffizi,  belonging  to  the 

group  of  the  Flaying  of  Marsyas. 

He  has  laid  the  knife  on  the  stone  in  front  of  him,  holding  it  firmly  with  the 

first  two  fingers  of  his  left  hand.     A  cloak  is  thrown  over  his  left  shoulder. 

Gilded  bronze  base. 

Bronze.     H.     (with  base)  14  in.     W.  8|  in. 
From  the  Demidoff  Collection. 


CLAUDE  MICHEL,  called  CLODION 

Born  at  Nancy  in  1738.     Died  in  1814  at  Paris.     Pupil  of  Thomas  Michel. 
Since  1773  member  of  the  Academy  of  Paris. 

A  n  YOUNG  PAN  WEEPING.     He  is  seated  on  a  goatskin,  his 
1  /    g°at's  feet  crossed,  his  left  hand  pressed  to  his  eyes  and  his  right 
across  his  head. 

Bronze.     H.  24  in. 

From  the  Demidoff  Collection. 


181 


Ill 

FRENCH  SCULPTURES 
XIX  CENTURY 


Ill 

FRENCH  SCULPTURES 
XIX   CENTURY 


AUGUSTE  RODIN 

Born  in  1840  at  Paris.     Pupil  of  Barges  and  Carrier-Belleuse.     Working  at 
Paris. 


Q   THOUGHT.     High,  square  marble  block,  from  which  the  head 
1    1  ZJ-  O    alone  emerges.     The  head,  wearing  a  cap,  rests  against  the  stone 
as  though  on  a  parapet. 

Marble.     H.  30  in.     W.  17  in. 

Replica  in  the  Luxembourg  Museum. 

T    _     .         DESPAIR.     Seated,  nude  female  figure.     She  clasps  the  sole 
1  y   °f  ner  'eft  updrawn  foot  with  both  hands.     Her  head  is  hidden  in 
her  arms.     Signed  on  the  pedestal  on  the  right :     A.  Rodin. 

Marble.     H.  11^  in.     W.  ~]\  in. 


_    ?  „  „    AWAKENING.     Kneeling,  nude  female  figure  emerging  from 
'    1  J  ^J  the  stone  from  the  knees  upward.     The  head  drooped  slightly 

toward  the  right  shoulder.     Both  hands  buried  in  her  hair. 

Signed  on  the  lower  right  hand  corner  of  the  pedestal :     A.  Rodin. 

Limestone.     H.  19^  in.     W.  8|  in. 

.85 


SCULPTURES   AND   ART   OBJECTS 

ANTOINE   LOUIS   BARYE 

Born  at  Paris  in  1795.     Died  there  in  1875.     Pupil  of  Bosio,  Gros,  and  Fau- 
connier.     Painter,  engraver  and  especially  sculptor  of  animals. 

GREYHOUND  AND  HARE.     The  hare,  seized  by  the  hound 
'    A  j   1    between  its  hind  legs,  lies  with  its  head  between  its  forefeet. 
Signed  on  the  base:     Barye. 

Bronze.     Green-brown   patina.     H.  26  in.     W.  185  in. 

TIGER  SLAYING  A   DEER.     He  clutches  it  with  the  left 
1    1   J  ■£   forepaw,  tearing  open  its  breast. 
Signed  near  the  right  forepaw  of  the  tiger:     Barye. 

Bronze.     Green-brown  patina.     L.  22  in.     H.  13  in. 


186 


IV 
CHINESE    BRONZES    AND    PORCELAINS 

RUGS  AND  TEXTILES 


IV 
CHINESE  BRONZES  AND  PORCELAINS 

RUGS   AND   TEXTILES 


BRONZE  STATUE,  BUDDHA  SEATED  ON  A  DRAGON. 

■    *   j  J)   The  dragon  rests  on  a  lotos  blossom  base.     The  God  attired 

in  a  close-fitting  garment  ornamented  with  cords  allows  the  dragon  to  lick 

his  right  hand,  while  his  left  rests  on  the  monster's  back.     Crown  of  leaves 

with  a  small  Buddha  in  the  front.     Flowers  entwine  about  his  shoulders. 

Bronze  gilded.     H.  17!  in. 

MING  DYNASTY   (XV  CENTURY) 


.    BRONZE  STATUE,  BUDDHA.     Seated  on  a  base  with  crossed 
1    1  j  ^\   legs  and  folded  hands.    Attired  in  a  garment  embroidered  in  lotos 
blossoms.     There  was  originally  a  small  figure  of  Buddha  in  the  front  of  the 
crown,  which  has  been  broken  out. 

Originally  gilded  bronze.     H.  15!  in. 

MING  DYNASTY  (XV  CENTURY) 


.  .  _  BRONZE  VASE  DECORATED  WITH  CLOISONNE 
J  J  ENAMEL.  Pear  shaped,  standing  on  a  foot,  with  narrow  neck. 
Two  rings  passing  through  loops  held  by  shields  form  a  handle.  Light  blue 
ground  with  peony  blossom  design,  chiefly  in  red,  yellow,  blue,  green  and 
white  (each  blossom  varying),  divided  by  horizontal  rings.  Vertically  placed 
leaves  and  triangles  at  the  neck. 

Bronze.     H.  16  in. 

KANG-HSI  PERIOD  (1662-1722) 

189 


SCULPTURES   AND   ART   OBJECTS 

I  Zif\  P0RCELAIN  GINGER  JAR  WITH  COVER.     White  haw- 
l    I  jV  thorn  blossoms  on  a  blue  ground.    Two  blue  rings  at  the  bottom. 

H.  io|  in. 

KANG-HSI  PERIOD  (1662-1722) 

,    .  _  n   PORCELAIN,   BOTTLE-SHAPED  VASE.     Purple,  partially 
A    1  j  j    covered  with  light  blue  glaze.     Cream  coloured  at  neck.     Thick, 
ball-shaped  body,  straight  narrow  neck. 

H.  1  3!  in. 

CHIEN-LUNG  PERIOD  (1736-1795) 

O   PORCELAIN,  OVIFORM  VASE.     High  turquoise  blue  glazed 
1    1    7  O   vase.     Wide  neck  and  oval  body. 

H.  20  in. 

CHIEN-LUNG  PERIOD  (1 736-1795) 


RUG  WITH  DOUBLE  CUFIC  BORDER.     Field:    Geometri- 
■    1    j  ^-)  cally  conventionalized  leaf  forms  in  pale  yellow  relieved  by  small 
passages  of  dark  blue  or  dark  red  ground. 
Border:     Geometric  pattern  developed  from  Cufic  inscriptions,  cream  on  red. 

Wool.     Size  5  ft.  by  3  ft. 

WESTERN  ASIA  MINOR,  EARLY  XVI  CENTURY 


I    l60 


RUG    WITH    GEOMETRICAL   DESIGN    IN   DARK   RED 
AND  YELLOW.     Field:     Geometrically  conventionalized  leaf 

forms  in  yellow  relieved  by  scarlet  red. 

Broad  border  with  diamond  shaped  areas  in  red  and  blue  on  yellow  ground. 

Narrow  outer  guard  band  with  undulating  design. 

Wool.     Size  5  feet  by  3  feet. 

WESTERN  ASIA  MINOR,   EARLY   XVI   CENTURY. 

190 


SCULPTURES   AND   ART   OBJECTS 

_    T  /"  T    VELVET  BROCADE.     One  section  of  a  great  climbing  pattern, 
1    1  \J  1    based  on  the  pomegranate  and  the  pink.     Alternating  concave 
and  convex  bands  covered  at  their  intersections  by  a  large  pomegranate 
device  above  and  two  similar  devices,  reduced  in  size,  below. 
Pattern  in  red  velvet  on  a  gold  brocade  ground.     Edged  with  galloon. 

L.  38  in.     W.  23  in. 

Formerly  in  the  collection  of  Mrs.  Lydig,  New  York.     Cat.  No.  126. 

ITALIAN,  VENETIAN,  XV  CENTURY. 


/^  _    TABLE  COVER.     Crimson  velvet  embroidered  all  over  with  a 
1    1  v/  .Z   foliated  pattern  in  gold,  showing  conventionalized  lilies,  roses 
and  other  flowers.     Edged  with  galloon  and  deep  gold  fringe. 

L.  72  in.     W.  48  in. 

Formerly  in  the  collection  of  Mrs.  Lydig,  New  York.     Cat.  No.  1  32. 

ITALIAN,  LATE  XVI  CENTURY. 


191 


ADDENDA 


ITALIAN    SCHOOL 


ITALIAN   SCHOOL 


JACOPO  DI  CIONE 

Youngest  brother  of  Andrea  Orcagna.  He  worked  in  his  brother's  bottega  in 
the  sixties.  1 368  he  carried  out  the  big  S.  Matthew  for  Or  San  Michele,  now  in 
the  Uffizzi.  1368-69  inscribed  among  the  Medici  a  Speziali.  Later  in  compan- 
ionship with  Niccolo  di  Pietro  Gerini. 

/  THE  FOUR  CROWNED  MARTYRS.  Four  naked  young  men, 
A  1  ^J)  wearing  only  loin-clothes,  stand  before  the  tyrant  with  their 
hands  tied  behind  their  backs.  They  are  the  four  crowned  saints,  Severus, 
Severianus,  Corphorus,  and  Victorinus.  A  man  is  scourging  them,  but  at  the 
same  time  a  little  black  devil  is  tormenting  the  tyrant,  who  sits  on  a  throne. 
He  is  clothed  in  red  and  the  scourger  in  yellow.  The  colours  are  bright  and 
lively. 

Panel.     H.  24  in.  W.  17!  in. 

The  picture  shows  close  connection,  especially  in  the  types  and  in  the  folds, 
with  the  Crucifixion  in  the  National  Gallery  (No.  1468)  attributed  to  Spinello 
Aretino,  but  evidently  one  of  Jacopo  di  Cione's  best  works.  Compare  Siren 
"Giottino,"  p.  90.  A  32. 

Described  and  attributed  by  Osvald  Siren. 


SPINELLO  ARETINO 

LUCA  SPINELLI 

Florentine  School.  Born  in  1332  at  Arezzo.  Died  there  in  1410.  Pupil  of 
Jacopo  del  Casentino.  His  most  important  frescoes  are  in  Florence,  Arezzo, 
and  Pisa  (Campo  Santo). 

197 


ITALIAN    SCHOOL 

T  T  /  .  CRUCIFIXION.  Christ  is  hanging  on  a  high  crucifix  looking 
*  1  v^  ^j-  down  to  the  left,  while  Longinus  pierces  his  side  with  a  spear. 
In  the  left  foreground  the  fainting  Virgin,  wearing  a  dark  blue  mantle,  is 
supported  by  two  women.  Behind  the  group  are  soldiers  on  horseback.  The 
Magdalen,  wearing  a  red  dress,  embraces  the  cross  as  she  kneels  at  the  foot  of 
it.  To  the  right  are  the  three  men  dividing  the  cloak  of  Christ ;  behind  them  the 
colonel  on  horseback  is  followed  by  other  mounted  men.  Gold  background. 
The  main  colors  are  a  vivid  red  and  light  blue.  In  the  upper  corners  are  St. 
John  the  Evangelist  and  an  eagle. 

Panel.  H.  22|  in.     W.  1 3 J  in. 


SCHOOL  OF  PAOLO  UCCELLO 

FLORENTINE,    ABOUT    I460 

.  T  /  _  TWO  HORSEMEN.  A  young  cavalier,  riding  a  gray  horse  to- 
1  1  \J  J  wards  the  left,  looks  up  in  surprise  at  an  eagle  flying  before  him. 
He  wears  armour  and  a  red  mantle  trimmed  with  ermine.  With  his  right  hand 
he  waves  his  hat.  On  the  back  of  the  horse  is  the  coat  of  arms  in  red  and  white 
design.  Another  rider,  wearing  a  white  costume  and  riding  a  brown  horse  is 
seen  from  the  back  to  the  left.  He  points  to  the  bird  with  his  right  hand. 
A  castle  to  the  left  and  a  wood  to  the  right  in  the  middle  distance. 

Panel.  H.  15!  in.  W.  13!  in. 

Very  likely  from  the  ends  of  a  cassone. 


FOLLOWER  OF  FRA  ANGELICO 

FLORENTINE  SCHOOL,  ABOUT  I45O 

I  I  /"/C  THE  PAPACY  OFFERED  TO  S.  GREGORY.  Saint  Greg- 
1  I  \J\J  ory  is  sitting  on  a  throne  outside  of  a  city  wall  listening  to  a 
monk  who  is  seated  to  the  right.  He  wears  a  light  violet  costume,  the  monk 
a  blue  costume.  The  Saint  is  stretching  out  his  right  hand  and  resting  his 
head  upon  his  left.  Rocks  to  the  left  and  a  meadow  with  flowers  in  the  fore- 
ground.    Some  of  the  houses  of  the  city  are  painted  blue  and  have  red  roofs. 

Panel.     H.  n  in.     W.  8  in. 

198 


ITALIAN    SCHOOL 

BASTIANO   MAINARDI 
Compare  No.  69 

_  /  ,—   THE  ROSARY.    Two  panels  forming  wings  to  a  Madonna  of 
A    '  ^  /   the  Rosary. 

1.  Left  Wing:  S.  Domenicus,  kneeling  with  the  representatives  of  the  ter- 
restrial hierarchy,  the  pope,  the  emperor,  the  king,  the  cardinal,  the  bishop, 
the  abbe,  doctor,  and  a  number  of  young  men  without  rank,  and  servants. 
Nearly  all  are  turned  to  the  right.     Gold  background. 

2.  Right  Wing:  A  female  saint,  kneeling  in  company  of  the  empress,  the 
queen,  the  countess,  the  abbess,  and  other  women  and  girls,  all  of  them  turned 
to  the  left.     Gold  background. 

Panels.     Each  H.  11  in.     W.  15!  in. 

Described  by  A.  Venturi,  La  Galleria  Crespi  in  Milano,  1900,  p.  201. 


MARIOTTO   ALBERTINELLI 

Florentine  School.     Born  in  1474  at  Florence.     Died  there  in  1515.     Pupil  of 
Cosimo  Rosselli.     He  worked  together  with  Fra  Bartolommeo. 

T  /  Q  THE  NATIVITY.  In  an  open  landscape  with  a  ruin  to  the 
1  1  \J  O  right  the  Virgin  is  kneeling  in  adoration  before  the  Child.  The 
Child  lies  in  the  centre  sucking  His  finger.  St.  Joseph,  sitting  at  the  left  is 
looking  down  at  the  Child.  He  wears  a  pink  costume  and  yellow  mantle  and 
holds  a  stick  in  his  left  hand.  Quite  to  the  right  the  heads  of  the  ox  and  the  ass 
are  seen  as  they  feed  in  a  manger.  At  the  extreme  left,  in  the  distance,  the 
shepherds  on  a  hill  are  receiving  the  message  from  the  angel. 
Predella. 

Panel.      H.  7  in.     W.  24  in. 


NEROCCIO  DI  LANDI 
Compare  No.  109 

/  FOUR  SAINTS. 

1  1  UU  1.  S.  Barbara.  The  saint  is  kneeling  to  the  right  holding  an 
arrow  in  her  left  hand,  a  book  in  her  right.  She  wears  a  reddish  brown  costume 
and  green  sleeves. 

199 


ITALIAN     SCHOOL 

2.  S.  Christina.     The  saint,  wearing  a  pale  green  dress,  is  kneeling  to  the 
left,  holding  a  palm  in  her  right,  a  book  in  her  left  hand. 

3.  S.  Jerome  turned  to  the  right,  and  covered  with  a  pink  shirt,  rests  on  one 
knee  and  is  beating  his  breast  with  a  stone. 

4.  S.  Galgano  kneels  to  the  left,  holding  in  his  hands  a  sword.     He  wears  a 
short  blue  jacket    and  red  trousers. 

Panel.     H.  1 1  i  in.    W.  gl  in. 


SIENESE,  EARLY  XV  CENTURY 

_    _  ,_  _    SAINT    PAUL.      He  is  seen  in  half  length  figure  turned  to  the 

1    I    /  \J  left  holding  a  book  with  red  cover  in  the  left  hand  and  a  sword  in 

his  right.     He  wears  a  vermilion  tunic  and  an  olive  green  mantle.     A  halo 

around  his  head.    On  the  background  in  Gothic  letters  inscribed  S.  Paulus. 

The  margin  is  gilded  with  raised  decoration  in  pastiglio. 

Panel.     H.  lof  in.     W.  9I  in. 

Attributed   by   Frank  Jewett    Mather,   Jr.,  to  Gherardo  Stamina  in  Art  in 
America,  Vol.  I,  No.  3. 


GIOVANNI   BATT1STA  CIMA  DA  CONEGLIANO 
Compare  Nos.  176-178 

T    T  y-  ,    SAINT    STEPHAN.       Bust.      Slightly  turned  to  the  left.     He 

*    *■    J    *    wears  the  costume  of  a  deacon,  an  amice  and  a  red  dalmatic 

bordered  with  apparels.     In  front  of  him  is  a  palm  which  he  seems  to  hold  in 

handswhicharenot  visible.  There  isa  haloaround  his  head.     Gray  background. 

Panel.     H.  1  3  in.     W.  1  1  in. 


MORETTO  DA   BRESCIA 

ALESSANDRO  bonvicino 

Compare  No.  236 

n  ^    PORTRAIT  OF  A  LADY.     Half  length  figure.     She  is  slightly 

'    *    J  ■£   turned  to  the  left.     She  wears  a  dress  of  white  brocade  which  is 

open  in  front  and  has  puffed  sleeves  tied  with  dark  red  ribbons.     Her  cap  is  of 

200 


ITALIAN     SCHOOL 

gold  embroidered  net.     With  both  hands  she  clasps  a  small  Bolognese  doj 
At  the  bottom  of  the  picture  a  gray  balustrade.     Dark  brown  background. 

Canvas.     H.  34  in.     W.  26  in. 

The  right  attribution  due  to  B.  Berenson. 


CANALETTO 
Compare  No.  292 

_  -    VIEW  OF  VENICE.     To  the  left  the  church  of  Santa  Maria 
j  3    Maggiore  and  to  the  right  in  the  middle  distance  the  towers  of 

Santa  Maria  della  Salute.     Many  gondolas  on  the  water. 

Blue  roofs.     Red  houses.     Blue  water  and  sky  with  white  clouds. 

Canvas.     H.  13  in.     W.  19  in. 

Not  quite  finished. 

From  the  collection  of  Herbert  Home  in  Florence. 


CORREGGIO 

ANTONIO  ALLEGRI 

Compare  No.  254 


I    I73A 


MADONNA  AND  CHILD,  ELIZABETH  AND  ST.  JOHN. 

The  Virgin,  holding  the  Christ  Child  on  her  left  knee,  is  sit- 
ting to  the  left  seen  in  half  figure  in  front  of  a  bower  of  leafy  verdure.  The 
Christ  Child  is  grasping  the  scroll  of  the  Cross  which  St.  John  holds  up  to 
him.  St.  John  is  seen  at  the  right  corner  looking  towards  the  Child.  Be- 
hind St.  John  is  Elizabeth,  wearing  a  wimple  and  her  mantle  over  her  head. 
A  background  of  hilly  landscape  is  seen  beyond  the  figures. 

Panel.     H.  24  in.     W.  18  in. 

The  influence  of  Mantegna  is  apparent,  especially  in  the  type  of  Elizabeth. 
About  1 5 12- 14. 

From  the  Collection  of  the  Prince  Leopold  of  Hohenzollern  at  Sigmaringen, 
who  acquired  it  in  1888  in  London. 
Described  by  Morelli,  Italian  painters,  II,  p.  151. 
Described  by  Fritz  Harck:  Archivio  storico  dell  'arte,  VI,  p.  390. 

201 


ITALIAN    SCHOOL 

Described  and  illustrated  by  Corrado  Ricci:  Correggio,  translated  by  Fl. 

Symonds,  1896,  p.  111,  and  plate  102. 

Described  and  illustrated  by  H.  Thode:     Correggio,  Kiinstlermonographie, 

p.  24  and  plate  No.  4. 

Described    and    illustrated    by    Georg   Gronau:     Correggio,    Klassiker   der 

Kunst,  1907,  p.  7. 

Described  by  T.  Sturge  Moore:     Correggio,  New  York,  1906,  p.  254. 

Described  by  Selwyn  Brinton:     Correggio,  London,  p.  XXXII. 

Listed  by  B.  Berenson:  North  Italian  Painters,  1907,  p.  201 


202 


FLEMISH  SCHOOL 
XV  AND  XVI  CENTURIES 


FLEMISH  SCHOOL 
XV  AND  XVI  CENTURIES 


FRANCO  FLEMISH  ARTIST 

ABOUT    I480 

T        _    .    PORTRAIT  OF  A  DONOR.     Half  figure  slightly  turned  to  the 
1    A    I  ^\  left.     An  elderly  man, clean  shaven,  his  hair  falling  upon  his  shoul- 
der clasping  his  hands  in  prayer.     He  wears  a  redcap,  a  dress  of  black  velvet 
brocade  and  a  brown  mantle  with  a  large  collar  of  white  fur.     On  his  left  arm 
sits  a  fly.     Dark  blue  background. 

Panel.     H.  10  in.     W.  8  in. 


FLEMISH  (BRUSSELS)  ARTIST 
1483 

,    y  —  _    PORTRAIT   OF  A   BOY.     Facing    the    spectator,  half  figure. 

*    *    I  J   He  wears   an   orange   coloured    brocaded  costume,  the    sleeves 
trimmed  with  black  fur,  and  a  black  cap  decorated  with  a  pearl-set  ornament. 
Around  his  neck  is  the  order  of  the  Golden  Fleece.     The  right  hand  alone  is 
visible  and  holds  a  flower.     His  blonde  hair,  cut  a  little  above  the  shoulders 
stands  out  slightly  at  the  sides.    Greenish-blue  background.    At  the  top  of  the 
panel  is  a  Dutch  and  French  inscription  both  saying  the  same,  as  follows: 
Gedaen  In  Jaer  ons  here  1483  tsinen  5  en  Faerre. 
Fat  Ian  1483  et  trois  on  5e  an  de  son  eage. 
(Translated :  made  in  the  year  1483  in  the  fifth  year  of  his  age). 

Panel.    H.  11^  in.     W.  9!  in. 

205 


FLEMISH    SCHOOL    XV    AND    XVI    CENTURIES 

PIETER  BRUEGEL,  The  Elder  (?) 
Compare  Nos.  419  and  420 

nf  ORGAN  PLAYER  AND  PIPER.     On  a  bench  at  the  foot  of  a 

I    1    /  yJ  tree  sit  two  peasants  turned  to  the  right.     The  one  nearest  to 

the  spectator  wears  a  brown  coat  and  bluish-green  trousers  and  is  playing  the 

hand-organ.     The  other  wears  a  red  cap,  gray  coat,  and  brown  trousers.     He 

is  turning  towards  the  organ  player  and  appears  to  be  singing. 

Panel.    Diameter  13I  in. 


HANS  MEMLING 
Compare  No.  324 

n(  A  HALF  FIGURE  0F  CHR1ST-  He  is  turned  slightly  to  the 
1  1  J  \J  t\  right  holding  the  right  hand  up  in  blessing,  the  left  is  seen  in 
foreshortening  in  the  lower  right  corner  of  the  picture.  The  hands  show  the 
wounds.  Long  curls  fall  upon  the  shoulders  and  the  crown  of  thorns  has 
wounded  his  head  and  the  blood  flows  over  his  forehead.  Tears  are  on  his 
cheeks.  Rays  emerge  from  his  head.  His  dress  is  dark  purple.  Two  col- 
umns in  the  background. 

Panel.     H.  21  in.     W.  13  in. 

From  the  collection  of  a  noble  family  of  North  Italy. 
Accepted  by  Dr.  Max  J.  Friedlander. 


206 


DUTCH  AND  FLEMISH  SCHOOLS 
XVII  AND  XVIII  CENTURIES 


DUTCH  AND   FLEMISH   SCHOOLS 
XVII  AND  XVIII   CENTURIES 

GERARD  TERBORCH 

Compare  Nos.  504  and  505 

T  .  )—  f—  SCENE  IN  AN  INN.  In  the  right  foreground  a  soldier,  seen  in 
II  three  quarters  length  and  turned  to  the  left,  sits  at  a  table  taking 
tobacco  out  of  a  box.  He  wears  a  red  cap  and  a  yellowish  brown  coat  with  white 
sleeves  and  his  long  black  hair  falls  on  his  shoulders.  Another  man,  wearing 
a  soft  black  hat  and  a  black  mantle,  sits  to  the  left  on  the  other  sideof  the  table 
in  the  shadow,  a  glass  of  beer  in  his  hand.  A  boy  holding  a  bottle  is  seen  in 
the  background  behind  the  soldier. 

Canvas.     H.  10  in.     W.  ~]\  in. 

An  almost  identical  picture  described  by  Hofstede  de  Groot:  Catalogue  Rai- 
sonne,  No.  198  is  in  the  Schloss  Collection  in  Paris. 


MICHAEL  SWEERTS 
Compare  No.  550 

_  O  SEATED  MAN  WITH  BOY.  Both  facing  the  spectator.  The 
1  1  y  O  man  sits  in  a  high-backed  leather  chair.  Smoke  rises  from  a 
pipe  held  in  his  left  hand.  His  right  hand  rests  upon  the  arm  of  the  chair. 
His  hair  hangs  in  short  curls  upon  his  shoulders  from  under  a  brown  hat  with 
irregular  brim.  Both  man  and  boy  wear  flaring  white  collars.  The  man 
wears  a  black  costume  and  a  long  chain  and  medal,  the  boy  a  red  coat. 
Gray  background. 

Canvas.     H.  igh  in.      W.  15^  in. 

The  right  attribution  due  to  Hofstede  de  Groot. 

209 


DUTCH    AND    FLEMISH    SCHOOLS    XVII    AND    XVIII    CENTURIES 

GOVERT  CAMPHUYSEN 
Compare  Nos.  557-561 

T  T  —  CATTLE  MARKET.  At  the  entrance  of  the  village  a  long  row 
/  ~/  of  cows  are  standing  in  front  of  the  peasant  houses  and  men  are 
passing  among  them  buying  or  inspecting  them.  A  white  cow  in  the  middle  is 
held  by  a  girl  while  a  peasant  wearing  a  red  coat  is  looking  the  cow  over.  To 
the  left  is  an  inn  in  front  of  which  a  carriage  with  horses  is  halting.  A  number 
of  sheep  are  lying  in  the  right  foreground.  A  false  A.  Cuyp  signature  in  the 
lower  right  corner. 

Panel.  H.  22J  in.     W.  32  in. 

Painted  about  1660,  possibly  during  the  stay  of  the  artist  in  Sweden. 
Sale,  F.  Muller,  Amsterdam,  191 3. 


ADR1AEN  VAN  DE  VELDE 
Compare  Nos.  602-606 

O  HORSES  AND  SHEEP  AT  PASTURE.  In  the  centre  stands  a 
1  1  OW  brown  horse  grazing,  in  profile  to  the  right.  To  the  left,  a  little 
behind  him,  another  grayish-brown  horse  facing  left,  lies  on  the  ground  near  a 
fence.  Beside  and  in  front  of  him  are  five  sheep  two  of  them  standing  up. 
Behind  the  fence  are  trees  and  in  the  right  foreground  a  stream.  Beyond  the 
stream  is  a  flat  pasture  with  cattle.  In  the  distance  is  a  row  of  slender  trees. 
A  few  white  clouds  are  on  the  pale  blue  sky. 
Signed  in  the  left  foreground:  A.  v.  Velde. 

Canvas.      H.  1 1  §  in.     W.  14J  in. 

Painted  about  1658-60. 

Hofstede  de  Groot:  Catalogue  Raisonne,  No.  335. 

Sale,  C.  Sedelmeyer,  Paris,  1907. 


AELBERT  CUYP 
Compare  Nos.  621  -628 

O        INTERIOR  OF  THE  GROOTE  KERK,  DORDRECHT.    Four 

I    IOI    0f  the  warm  gray  sandstone  columns  are  visible,  the  two  nearest 

ones  lighted  on  their  upper  part  by  the  sun.     On  the  second  column  to  the  left 

210 


DUTCH    AND    FLEMISH    SCHOOLS    XVII    AND    XVIII    CENTURIES 

is  the  pulpit.  In  the  left  foreground  a  woman  wearing  a  red  bodice  is  in  con- 
versation with  a  man  who  wears  a  dark  brown  coat  and  blue  trousers.  A  dog 
stands  near  them.  Another  woman  carrying  a  milk  pail  and  two  men  are 
farther  back  to  the  right.  On  the  columns  and  near  the  windows  hang  a  num- 
ber of  memorial  tablets.  Bright  sunlight. 
Signed  in  the  left  foreground:     A.  Cuyp  fecit. 

Panel.      H.  i6§  in.     W.  13  in. 

Of  the  best  period  of  the  artist,  about  1660.      Somewhat  similar  pictures  in 

Aachen  and  Innsbruck. 

Possibly  identical  with  No.  749  C,  in  Hofstede  de  Groot's  Catalogue  Raisonne\ 

.    ,  O  _    PORTRAIT  OF   A  LADY.     Bust.  She  is  facing  the  spectator, 

1    1  O  -Z   slightly   turned   to  the   left   and  wears  a  black  costume,  a  cap 

and  a  white  collar,  tied  in  front  with  a  black  ribbon.     Part  of  her  hair  falls 

upon  her  shoulders.     She  appears  to  be  about  forty-five  years  old  and  wears 

pearl  earrings  and  a  pearl  ornament  in  her  cap.      Dark  gray  background. 

Panel.     H.  27J  in.     W.  20§  in. 

Formerly  in  the  collection  of  A.  Achenbach  in  Diisseldorf,  under  the  name 
of  Rembrandt.     Attributed  to  Cuyp  by  Dr.  Hofstede  de  Groot. 


ADRIAEN   BROUWER 
Compare  Nos.  680-686 

,  .  O  LISTENING  TO  THE  NEWS.  In  the  left  foreground  of  a 
*■  *■  ^  J)  tavern  a  man  sits  in  profile  to  the  right,  wearing  a  brown  coat 
with  yellow  sleeves.  In  his  left  hand  he  holds  a  glass  of  beer.  His  right  arm 
hangs  down,  the  hand  grasping  a  blue  jug  on  the  floor.  To  the  right  a  man  in 
profile  towards  the  left,  wearing  a  plumed  hat,  gray  coat,  and  reddish  trousers 
is  reading  the  news  from  a  paper.  A  woman  with  a  white  cap  and  dark  blue 
dress  leans  on  the  back  of  the  chair.  A  third  man,  facing  the  spectator,  stands 
between  the  two  peasants,  leaning  his  arms  upon  the  back  of  a  chair  and  look- 
ing at  the  reader. 
Signed  on  the  left  with  the  monogram  A  B 

Panel.    H.  14  in.     W.  i6|  in. 

Similar  to  the  picture  called  "Politicians"  in  the  Schloss  Collection  in  Paris 
(Hofstede  de  Groot:  Catalogue  Raisonne,  No.  62)  without  the  part  showing  a 
dog  in  the  foreground  and  two  men  near  a  fireplace  in  the  back. 

21 1 


DUTCH    AND    FLEMISH    SCHOOLS    XVII    AND    XVIII    CENTURIES 

O  SCENE  IN  A  TAVERN.  In  the  left  foreground  a  young  man 
■  1  O  Z|.  js  sitting,  apparently  asleep,  holding  a  pipe  in  his  left  hand.  In 
front  of  him  is  a  tabouret  on  which  a  pewter  jug  and  a  glass  stand.  In  the 
background  are  three  men  in  front  of  a  chimney,  one  of  them  sitting  at  a  table. 
A  woman  is  leaving  the  room  through  a  door  in  the  right.  A  few  small  logs 
of  wood  are  in  the  foreground. 
Signed  in  the  right  foreground,  A.   B. 

Panel.     H.  10  in.     W.  13I  in. 

Accepted  by  Dr.  Hofstede  de  Groot  as  a  work  by  Brouwer. 


JAN  S1BERECHTS 
Compare  No.  707 

O  HORSES  AND  WAGON.     In   a  valley  opening  into  a  hilly 

*■  lO^  landscape  with  blue  mountains  in  the  distance,  two  men  are 
working  in  the  foreground,  digging  up  grassy  turf  and  loading  it  upon  a  wagon. 
Three  horses  are  harnessed  to  the  wagon  and  stand  in  front  of  it.  Two  horses 
are  white  and  one  reddish-brown.  The  latter  stands  in  the  left  foreground. 
The  harness  is  decorated  with  blue  and  red  tassels  and  ribbons.  The  man 
who  is  digging  wears  a  blue  and  red  coat  and  red  trousers,  the  other  a  white 
shirt  and  brown  breeches.  To  the  left  a  magpie  is  sitting  upon  a  willow  tree. 
Signed  in  the  right  foreground:     J.  Siberechts,  1694. 

Canvas.     H.  14  in.     W.  12  in. 


GERR1T  VAN  ZEGELAAR 
Born  in  1 719  at  Loenen,  died  in  1794  at  Wageningen.     Painter  of  genre  scenes. 

O/  CARPENTER  TAKING  HIS  MEAL.  The  carpenter  is  stand- 
I  I  Ow  ing  behind  his  bench  holding  in  one  hand  a  knife  and  in  the  other 
a  herring  which  he  shows  to  the  spectator.  On  the  bench  the  working  instru- 
ments, beside  them  bread  and  an  earthen  jar.  In  the  background  a  house  sur- 
rounded by  trees.  Dark  gray  clouds  in  the  sky. 
Signed  on  the  bench:     G.  Zegelaar. 

Panel.     H.  14  in.     W.  105  in. 

212 


DUTCH    AND    FLEMISH    SCHOOLS    XVII    AND    XVIII    CENTURIES 

T    .  O  n     STONE  MASON  TAKING  A  REST.     He  is  standing  behind  a 
/      pile  of  bricks  beside  a  scaffold  on  which  is  fixed  a  hod  for  the 
mortar.    He  holds  a  pipe  in  his  left  hand  and  grasps  a  jug  with  his  right.     A 
peasant  house  and  trees  in  the  background.     Gray  clouded  sky. 
Signed  on  one  of  the  bricks;  G.  Zegelaar. 

Panel.     H.  13!  in.     W.  10^  in. 


ADDENDA  TO  SCULPTURE 


PIERRE  FRANCHEVILLE 

Born   at   Cambrai,  1548,  and   died   at   Paris,  in    1618.     Pupil  of  Giovanni 
Bologna.     Worked  in  Genoa,  Florence,  and  Paris. 

T    T  88   PORTRAIT  OF  GIORDANO  BRUNO.     Bust.     He  is  looking 
*    lOO   down  to  the  right,  wears  a  short  beard,  moustache  and  curled 

hair.     He  wears  a  coat  buttoned  in  the  front  and  a  soft  collar.     The  sleeves 

of  his  cloak  are  raised  on  his  shoulders. 

Terracotta,  H.  24  in.     W.  16  in. 

Both  the  attribution  given  to  this  sculpture  and  the  name  of  the  model  are 

traditional. 


STYLE  OF   BENEDETTO  DA  MAJANO 

FLORENTINE  ABOUT   I5OO. 

j  1  O^  PI  ETA.  Four  figures.  In  the  centre  sits  the  Virgin  with  folded 
j/  hands  holding  the  dead  Christ  on  her  lap,  and  looking  at  him  with 
a  sorrowful  expression.  She  wears  a  red  gown  seen  only  in  the  front  and  a  dark 
blue  mantle  which  covers  the  whole  figure.  To  the  left  kneels  Saint  John  in  a 
green  shirt  and  a  red  mantle  looking  up  and  supporting  the  shoulders  of  Christ. 
To  the  right  Mary  Magdalene  bends  over  the  feet  of  Christ  which  she  holds 
upon  her  left  knee.  She  wears  a  claret-red  dress  and  a  yellow  mantle. 
Terracotta,  painted. 
H.  23!  in.     W.  39  in. 

A  somewhat  similar  group  by  Benedetto  da  Majano  is  in  the  Metropolitan 
Museum  in  New  York. 

213 


NOTES 

ADDITIONAL    NOTE    TO   NO.    362 

The  coat-of-arms  is,  according  to  Dr.  F.  Winkler,  that  of  the  Count  Charles 
de  Croy,  who  was  knight  of  the  Golden  Fleece.  Emperor  Maximilian  made 
him  Prince  de  Chimay  in  i486.  A  number  of  illustrated  manuscripts  bearing 
his  coat-of-arms  are  in  the  Brussels  library.     He  died  in  1521. 


ADDITIONAL    NOTE    TO    NO.    378 

Dr.  Fred  C.  Willis  has  rightly  noticed  that  the  same  coat-of-arms  is  found 
on  the  altarpiece  attributed  to  Patinir  in  the  Munich  Pinakothek  (No.  141-3). 
According  to  Dr.  Braune  it  belongs  to  Lucas  Rehm  from  Augsburg,  who  lived 
in  Antwerp  representing  the  bank  of  the  Fuggers.  He  married  there  Anna 
Ehen  in  15 18.  The  representation  of  St.  Rocchus  in  the  painting  in  Munich 
hints  at  the  pestilence  in  Antwerp  in  1  5  1 9  —  it  was  very  likely  executed  in  this 
year.  Our  painting  must  have  been  painted  about  the  same  time,  as  Lucas 
Rehm  lived  in  Cologne  from  1 520.  In  the  inscription  should  the  word :  "geds" 
read :  "gebs ;"  the  sentence  translated  means :  if  it  goes  well,  it  is  given  by  God. 


ADDITIONAL    NOTE    TO    NO.    4IO 

This  picture  should  have  been  listed  under  the  Brussels  School,  as  it  is  more 
in  the  style  of  the  Master  of  the  Magdalen  legend  than  in  that  of  Jan  Mostaert. 


214 


APPENDIX 


INDEX  OF  GERMAN,   FRENCH,   SPANISH 
AND  ENGLISH   PAINTERS 

THE    NUMBERS    REFER   TO   THE    CATALOGUE    NUMBERS 

AS    THE    NAMES   OF   THE    MODERN    ARTISTS    ARE    ARRANGED    ALPHABETICALLY, 
THEY    ARE   NOT    INCLUDED    IN    THE    INDEX 


NUMBER  NUMBER 

Altdorfer  (?)  Albrecht 730  Cranach,    Lucas  —  the    Elder 

738,  739,  740,  741 

Boilly,  Louis  Leopold 792  Crome,  John  (called  Old  Crome)   .  .  876 

Bonington,  Richard  Parkes  .  . .  882,  883 

Bourdichon,    Jean  —  School    of  Dawson    Henry 885 

(about  1480) 762  David>  jacqUeS  Louis 791 

Bruyn,    Bartholomseus  —  the    Elder  Diirer,  Albrecht  737 

747-748,  749,  750 


Castilian  Artist  (second  half  of  XV 

century) 798 

Castilian  Artist  (second  half  of  XV 

century) 799 

Castilian  Artist  (about  1470) 801 

Catalanian  Artist  (about  1470) 800 

Catalanian    Artist    (late    XV    cen- 
tury)      802,  803,  804 

Chardin,  Jean-Baptiste  Simeon 

778,  779.  780,  781,  782,  783, 
784,  785,  786,  787,  788,  789 

Claude,  Lorrain 775 

Clouet,  Francois 770 

Clouet,    Francois  —  in   the   manner 

of 772 

Constable,  John. ...  851,  852,  853,  854, 
855,  856,  857,  858,  859,  860, 
861,862,863,864,865,866, 
867,868,869,870,871,872, 
873 

Corneille  de  Lyon 771 

Cotman  (?)  John  Sell    877 


English  Artist  (about  1790) 841 

English   Artist    (middle   of    XVIII 

century) 825 

English  Artist  (about  1820) 878 

Etty,  William 884 

Faber,  Conrad 732 

Feselen  (?)  Melchior 734 

Fragonard,  Jean  Honore    790 

Franco-Flemish  Artist  (about  1530).  769 
French  Artist  (of  the  XVII  century)  776 
French  (Burgundian)  Artist  (about 

1450)   760 

Froment,  Nicholas  —  School  of 761 

Gainsborough,  Thomas  832,  833,  834,  835 
Gellee,  Claude  —  called  le  Lorrain..   775 
Gericault,  Jean  Louis  Andre  Theo- 
dore  795,  796,  797 

Goya,    Francisco,  y   Lucientes 

818,  819,  820 
Greco,  el 807,  808,  809 


217 


APPENDIX 

NUMBER  NUMBER 

Hogarth,  William 822,  823      Raeburn,  Henry 840 

Holbein,  Hans,  the  Younger 718  Reynolds,  Sir  Joshua.  . . .  826,  827,  828, 

Holland,  James 886,  887  829,  830,  83 1 

Hoppner,  John 842,  843      Reynolds,  Samuel  William 847 

Ribera,  Jusepe  de 81 1 

Ingres,    Jean    Auguste     Dominique  Rigaud,  Hyacinthe 777 

793.  794  Ring.  Lutger  Tom — the  Younger  (?) 

Iriarte,  Ignacio  de 817  754,  755 

Romney,  George 837,  838,  839 

Juanes,  Juan  de 806 

Schaeuffelein,  Hans  Leonhard 726 

Lorrain,  Claude  Gellee 775      Schaffner,  Martin 733 

Lyon,   Corneille  de 771      Schongauer,  Martin 717 

Low  Rhenish  Artist  (about  1500)..   751  South   French  Artist   (about    1430- 

Lucas,  Eugenio 82 1  50) 758 

South  French  (about   1450) 759 

Mares,  Pierre  des 746  South   French  Artist    (about    1 500) 

Marmion,  Simon  —  School  of  (about  765,  766,  767,  768 

1480) 763  South  German  Artist  (about  1550). .   731 

Martinez,  Juan  Battista  del  Mazo.  .815      Spagnoletto   811 

Master  of  Cappenberg 753      Stella,  Jacques 774 

Master  of  Liesborn 752      Suabian  Artist  (about  1 500) 720 

Master  of  Messkirch 721,  722,      Suabian  Artist  (of  1524) 729 

723,  724,  725  Suabian  (Augsburg?)  Artist  (about 

Master  of  Moulins 764         1 520) 728 

Master  of  the  Holy  Fellowship  ....   745  Suabian  (Ulm?)  Artist  (about  1520).   727 
Master  of  the  Life  of  the  Virgin  ....  743 

Master  of  St.  Bartholomew 744  Theotocopuli,  Domenico    (el  Greco) 

Master  Wilhelm  of  Cologne 742  807,  808,  809 

Mazo 815  Turner,    Joseph     Mallord    William 

Morland,  George 844,  845,  846  848,  849,  850 

Miilich,  (Mielich),  Hans 735,  736 

Multscher    Hans — Follower    of  Upper  Rhenish  Artist  (about  1440- 

(about  1460)  7'6         50) 7I4.7I5 

Murillo,  Bartolome  Esteban 816 

Vargas,  Louis  de 805 

Nasmyth,  Peter 880  Velasquez   (?)    Diego   Rodriguez  de 

North   French  Artist    (about    1400)  Silva  y 812,  813 

756,  757     Velasquez,  after 814 

Vincent,  George 879 

Opie,  John 836 

Orrente,  Pedro 810     Watts,  William 874,  875 

Wilson,  Richard 824 

Poussin,  Nicolas    773 

Pyne,  James  Barker 881      Zeitblom,  Bartholomaeus 719 

218 


INDEX  TO  ADDENDA 


Albertinelli,  Mariotto 

Angelico,  Fra,  Follower  of 

Aretino,  Spinello  (Luca  Spinelli)   . 

Brescia,  Moretto  da 

Brouwer,  Adriaen 1 183, 

Bruegel,  Pieter  the  elder 

Camphuysen,  Covert 

Canaletto 

Gone,  Jacopo  di 

Cima  da  Conegliano 

Correggio 

Cuyp,  Albert 1 181, 

Flemish  (Brussels)  Artist  (1483)   . 
Fra    Angelico,   Follower  of  (about 

1450)  

Francheville,  Pierre 

Franco-Flemish  Artist  (about  1480) 


168 
166 
164 

172 
184 
176 

'79 

'73 

163 

171 

173A 

182 

'75 

166 

188 
'74 


Landi,  Neroccio  di 1 169 

Mainardi,  Bastiano 1 167 

Majano,  Benedetto  da,  Style  of  . .  1 189 

Memling,  Hans 11 76A 

Moretto  da  Brescia 1 172 

Neroccio  di  Landi 1 169 

Siberechts,  Jan 1 185 

Sienese,  early  XV  century 1 170 

Spinello,  Aretino 1 164 

Sweerts,  Michael 1 178 

Terborch,  Gerard 1 1 77 

Uccello,   Paolo,  School   of  (about 

1460) 1 165 

Van  de  Velde,  Adriaen 1 180 

Van  Zegelaar,  Gerrit 1 186,  1 187 


219 


ILLUSTRATIONS 


GERMAN  PAINTERS 
XV  AND  XVI  CENTURIES 


'14      UPPER    RHENISH    ARTIST    ABOUT    I44O-5O 


22  3 


^B^ 

Y     illHBI 

w   <           Jfl 

FA    1" 

I    1     Iv  vC 

I  i      mi  m 

\mm\l1  nk\ 

.  -  V, 

'm  iv  i 

4m     J^      ^                           |9 

Bb  _— ^ ^^^^^- 

'IS       UPPER    RHENISH    ARTIST    ABOUT     1 44<  >-  ^K 


224 


716      FOLLOWER    OF    HANS    MULTSCHER 
225 


717      MARTIN    SCHONGAl'ER 


226 


719       BARTHOLOMAUS    ZEITBLOM      (?) 
227 


720      SUABIAX    ARTIST    ABOUT    1,00 


228 


72I-725       THE    MASTER    OF    MESSKIRCH 


22Q 


J 

UJ 

u. 

D 

UJ 

< 

X 
u 

a 
at 
< 
X 

z 

o 


z 


1^ 


230 


727      SUABIAN    (ULM?)    ARTIST    ABOUT    I  52O 


23I 


728      SUABIAN    (AUGSBURG?)    ARTIST    ABOUT    I  52O 
232 


729      SUABIAN    ARTIST    OF    I  524 


=  33 


730      ALBRECHT    ALTDORFER    (?) 


2  34 


"31       SOUTH    GERMAN    ARTIST    ABOUT    1550 
235 


732       CONRAD    FABER 


236 


733       MARTIN    SCHAFFNER 


237 


as 
o 


X 


238 


73  t       HANS    MUELICH    (MIELICH) 


239 


736      HANS    MUELICH    (MIELICH) 


240 


737      ALBRECHT    DURER 
24I 


739   LUCAS  CRANACH  THE  ELDER 
242 


740   LUCAS  CRANACH  THE  ELDER 
243 


742      MASTER    WILHELM    OF    COLOGNE 
244 


743       MASTER    OF    THE    LIFE    OF    THE    VIRGIN 


245 


745       MASTER    OF    THE    HOLY    FELLOWSHIP 
24(1 


746       PIERRE    DES    MARES 


247 


747   BARTHOLOMAEUS  BRUYN  THE  ELDER 
248 


748       BARTHOLOMAEUS    BRL'YN    THE    ELDER 
249 


750   BARTHOLOMAEUS  BRUYN  THE  ELDER 
2SO 


751       LOW    RHENISH    ARTIST    ABOUT    I  ^OO 


251 


z 


u. 
o 


2S2 


w 
m 
z 

w 

PL, 
C 
< 

u 

u. 

o 

as 

uj 
H 

< 


253 


754       LUTGER   TOM    RING   THE    YOUNGER    (?) 


!54 


755       LUTGER   TOM    RING   THE    YOUNGER    (?) 
255 


FRENCH   PAINTERS 
XV  TO  XIX  CENTURY 


756-757       NORTH    FRENCH    ARTIST    ABOUT    I4OO 
259 


758      SOUTH    FRENCH    ARTIST    ABOUT    I430~5° 
260 


759      SOUTH    FRENCH    ARTIST    ABOUT    I45O 


26l 


760      FRENCH    (BURGUNDIAN)    ARTIST   ABOUT    I45O 
262 


H 
Z 

tu 
S 

o 


263 


J*?&^ 


762       SCHOOL    OF    JEAN    BOURDICHON 


264 


762       SCHOOL    OF    JEAN    BOURDICHON 


265 


762      SCHOOL    OF   JEAN    BOURDICHON 


266 


763       SCHOOL    OF    SIMON    MARMION 
267 


764      MASTER    OF    MOULINS 
268 


765       SOUTH    FRENCH    ARTIST    ABOUT    1 5OO 
269 


766      SOUTH    FRENCH    ARTIST   ABOUT    I  5OO 
27O 


767      SOUTH    FRENCH    ARTIST    ABOUT    1 500 


271 


768      SOUTH    FRENCH    ARTIST   ABOUT    1 5OO 
272 


769       FRANCO-FLEMISH    ARTIST    ABOUT    I  53O 


273 


770      FRANCOIS    CLOUET 


274 


77'       CORNEILLE    DE    LYON 


275 


772       IN    THE    MANNER    OF    FRANCOIS    CLOUET 


276 


D 
O 


O 


779      CHARDIN 


27Q 


780      CHARDIN 


280 


781       CHARDIN 


28l 


782      CHARDIN 


282 


a. 
< 


oc 


283 


784      CHARDIN 


284 


D 
OS 
< 
X 

u 


00 


285 


c 

< 

I 
u 


00 


286 


787      CHARDIN 


287 


< 

- 


CO 

00 


288 


a 

< 

x 
u 


00 


289 


790      JEAN    HONORE    FRAGANARD 


29O 


793       JEAN    AUGL'STE    DOMINIQUE    INGRES 


291 


n, 

wrT 

J 

Hl  m 

■ 

_i 

K*^*  'rr*  "^H 

^r     I   |  J 

IB 

p 

» 

▼  ■** 

|T^sT|j 

\ 

'   1 

W^t^^           ^^w 

LUT  il     Ik 

K* 

J 

7Q4      JEAN    AUGUSTE    DOMINIQUE    INGRES 


292 


< 

u 
5 

o 


a* 
o 

Q 
O 

~ 
H 

,ai 
a; 
Q 
Z 
< 


D 
O 
J 

z 
< 

111 


293 


SPANISH   PAINTERS 
XV  TO  XIX  CENTURY 


798      CASTILIAN    ARTIST    SECOND    HALF  'OF    THE    XV    CENTURY 


297 


799      CASTILIAN    ARTIST    SECOND    HALF    OF    THE    XV    CENTURY 


298 


800      CATALANIAN    ARTIST   ABOUT    I47O 
299 


8oi       CASTILIAN    ARTIST   ABOUT    1 47O 


3OO 


>- 

04 
D 
H 
Z 

w 
o 

> 

X 

LU 

H 
< 


H 

04 
< 

Z 

< 

< 
< 
< 


o 

CO 


301 


t- 
z 

u 

> 

UJ 

1- 
< 


a. 
< 


< 

u 


o 
cc 


302 


303 


8o,       LOUIS    DE    VARGAS 


304 


806      JUAN    DE    JUANES 
305 


807       DOMENICO   THEOTOCOPL'LI 
306 


808      DOM  EN  ICO   THEOTOCOPULI 


307 


8lO       PEDRO    ORRENTE 


308 


8l2       VELASQUEZ    (?) 


309 


SI  3       VELASQUEZ    (?) 


3IO 


Si  5      JUAN    BATTISTA    DEL    MAZO 


3" 


3 


z 

< 


•■111 

s 

O 


OS 

< 

CO 

00 


312 


)I0       FRANCISCO    GOYA 


313 


819       FRANCISCO    GOYA 


3'4 


820       FRANCISCO    GOYA 


3 1 5 


ENGLISH  PAINTERS 
XVIII  AND  XIX  CENTURIES 


< 

o 
o 

- 


CO 


319 


823       WILLIAM    HOGARTH 


320 


o 
z 

>- 

UJ 


00 


321 


828      SIR    JOSHUA    REYNOLDS 


322 


829   SIR  JOSHUA  REYNOLDS 


323 


830      SIR    JOSHUA    REYNOLDS 


324 


83I   SIR  JOSHUA  REYNOLDS 


325 


832       THOMAS    GAINSBOROUGH 


326 


833       THOMAS    GAINSBOROUGH 


327 


X 

o 

X 

o 
m 


< 


00 


328 


I 
o 

D 
O 

o 

m 


< 


< 

s 
o 

X 
H 


00 


329 


- 
o 

3 


< 

G 


328 


I 
o 

D 
O 
a 
o 

m 


< 
O 


< 

s 

o 
s 

H 


m 
00 


329 


837      GEORGE    ROMNEY 


330 


84O      HENRY    RAEBURN 


33' 


Q 
< 

at, 

O 


o 
o 

ID 

o 


00 


332 


a 
z 


o 


w 
o 
ai. 
O 
uj 
o 


CO 


333 


< 

H 
in 

y. 
o 
u 


00 


336 


CQ 
< 
H 

I/) 

z 

o 
u 


00 


337 


< 

H 
Z 

o 
(J 


CO 


338 


339 


< 

H 
to 
Z 

o 
o 


CO 


340 


r3       CONSTABLE 


34' 


H 
< 


< 

— 


00 


342 


876      JOHN    CROME 


343 


88o       PETER    NASMYTH 


344 


z 

o 
1- 
o 
z 

z 

o 

33 


< 

a 
u 


X) 
X> 


345 


SCULPTURES  AND  ART  OBJECTS 


SCULPTURES 

FRENCH,   FLEMISH,  GERMAN   AND   ITALIAN 

XV  AND    XVI  CENTURIES 


I  I  1 8       FRENCH    ABOUT    I4OO 
351 


z 

< 


352 


I  123       FLEMISH    ABOUT    I  52O 


353 


1124      SOUTH    GERMAN    ABOUT    1,00 
354 


I  125   SOUTH  GERMAN  ABOUT  I  5OO 
355 


I  126   SOUTH  GERMAN  ABOUT  I  500 


356 


I  127   SOUTH  GERMAN  (ULM?)  ABOUT  I52O 

357 


1128      SUABIAN    ABOUT    1,20 
358 


1129   SOUTH  GERMAN  ABOUT  I  =,20 


359 


1130      ENGLISH,    SECOND    HALF    OF    THE    XV    CENTURY 
360 


I  I3>       ENGLISH,    SECOND    HALF    OF    THE    XV    CENTURY 


361 


I  I  32       FOLLOWER    OF    ANTONIO    ROSSELLINO 


362 


I  133       BENEDETTO    DA    MAJANO 


363 


1134       BENEDETTO    DA    MAJANO 


364 


I  135       VECCHIETTA 


365 


H36      UMBR1AN,    SECOND    HALF    OF    THE    XV    CENTU 


RY 


366 


SCULPTURES 

GERMAN,  FLEMISH,  SPANISH  AND  ITALIAN 

XVII  AND  XVIII  CENTURIES 


1142      SCHOOL    OF    GIOVANNI    BOLOGNA,    ITALIAN    XVII    CENTURY 


369 


1145       JEAN    ANTOINE    HOL'DON 


370 


I  147      CLODION 


371 


SCULPTURES 

FRENCH 

XIX   CENTURY 


I  I48      AUGUSTE    RODIN 


375 


I I49      AUGUSTE    RODIN 


376 


I  1  50      AUGUSTE    RODIN 


377 


>• 

as, 
< 


D 
Z 


o 

H 

z 
< 


Cd. 

< 
- 


D 
O 


w 
z 

o 

H 
Z 
< 


379 


CHINESE   BRONZES  AND  PORCELAINS 
RUGS  AND  TEXTILES 


I  155       KANG-HSI    PERIOD    1662-I722 


383 


II56      CHINESE    KANG-HSI    PERIOD    1662-I722 


384 


I  1 59      WESTERN    ASIA    MINOR    XVI    CENTURY 
385 


.    _      , 


*mmmuM$m^^MM^^^*m>» 


ll6o      WESTERN    ASIA    MINOR    XVI    CENTURY 


386 


I  l6l       ITALIAN,    VENETIAN    XV    CENTURY 
387 


fcAfesjASi 


Il62       ITALIAN,    LATE    XVI    CENTURY 


388 


ADDENDA 


I  163      JACOPO   DI    CIONE 


39' 


1164      SPINELLO    ARETINO 
3Q2 


•J  -  .- . 

••••  •  ■  *rV  ivJK* 


I  165   SCHOOL  OF  PAOLO  UCCELLO 


393 


Il66      FOLLOWER    OF    FRA    ANGELICO 

394 


Q 

< 
z 


o 
z 

< 


< 

ca 


395 


Q 
< 

< 

O 
< 

in 

< 


396 


as 


C 


oo 


397 


Il(>9      NEROCCIO    DI    LANDI 


398 


%& 


1170      SIEXESE    EARLY    XV    CENTURY 


399 


I  171        CIMA 


400 


I  172       MORETTO    DA    BRESCIA 


401 


402 


I  I  73A      CORREGGIO 


403 


174      FRANCO    FLEMISH    ARTIST    ABOUT    1 480 


404 


I  175   FLEMISH  (BRUSSELS?)  ARTIST  1 483 


405 


1176      PIETER    BRUEGEL   THE    ELDER 


406 


I  I76A       HANS    MEMLING 
4O7 


I  I  77      GERARD    TERBORCH 


408 


I  I  78      MICHAEL    SWEERTS 


409 


_ 

c 

S 
< 


> 

o 
o 


410 


m 
a 


□ 

z 
< 
> 

z 

w 
< 

5 

Q 
< 


O 
GO 


411 


l8l       AELBERT    CUYP 


412 


I  182       AELBERT    CUYP 


413 


as 

D 
C 

at 
m 

z 

ttl 
< 

as 
Q 
< 


00 


414 


I  185       JAN    SIEBRECHTS 


4'5 


- 
u 
z 
< 


as 

as 


x 
x 


416 


o 
z 

< 


< 
a 

o 

H 
H 

LU 

Q 
III 

Z 

ui 

CQ 


>■ 
f- 


00 


417 


CO 


5 


< 

H 
UJ 
Q 


4l8 


it.  niNvzii 

3 

rANSQ  L\  n.f- 

rtzroNt  -u  i.\ 

rtufrzroNi  men 

n 

£  VNAAIKVZIA 

^.3 


*§*tf^ 


14      ?2  4  3.3 


GETTV  CENTER  LIBRARY 

N  691  C1J 


MAIN 


3  3125  00222    1352 


